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A reviewer about physical education containing topics about social dances and folk dance., Study notes of Physical education

Physical education

Social dances and folk dances are the topics for physical education.

Typology: Study notes

2022/2023

Uploaded on 01/26/2023

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PE 103 – REVIEWER
I: Multiple choice (1-15)
*Overview
Brief Historical Background of Dance
*Classifications of The Philippine Folk Dances According to
Its Nature
*Philippine Costume: Fusion of History, Artistry and
Identity
*Philippine Christian Dances: Female Costume
*Dance Abbreviations
Test II: Identification (16-25)
*Dance Positions
Test III: Modified True or False
*Dance Terms
Test IV: Enumeration (Remember at least 3
Basic Philippine Folk Dance Steps)
Overview:
Dance is the mother of arts. It is
concerned with the communication of emotions
or ideas through the medium of movement. The
basic vehicle of dance is the human body, and
as an art form, dance is expressed in
movement. It attempts to convey ideas or
feelings through carefully selected patterns
which are arranged in a form judged to be the
best to meet the needs of that particular
communications.
Dance is a symbol of cultural identity. It
is a medium of cultural fusion with a focus on
the intertwining of different cultures. In fact,
dance today is not simply cross-cultural but
pan-cultural and planetary.
Dance will never die because it is being
reborn through different dancers, different
environments, and different cultures.
The dances in the Philippines are deeply
rooted in our culture. They are a beautiful part
of our national and cultural heritage and it
should be made an important part of every
Filipino child’s school experience.
Brief Historical Background of Dance
Art and religion were the most serious
concerns of primitive civilizations. Although
during the primitive times, their concerns were
mainly how to find food and how to increase its
supply. Unaware of the artistic aspect, they
made use of hunting and fishing as their way of
life.
Classifications of the Philippine Folk Dances
According to its Nature
1. Occupational Dances – depicting action of
certain occupation, industry, or human labor.
2. Religious or Ceremonial – performed in
connection with religious vows and ceremonies.
3. Comic Dances – depicting funny movements
for entertainment.
4. Game Dances – done with play elements
(dance mixers).
5. Courtship Dances _ depicting love making.
6. Wedding Dances – performed during
wedding feasts.
7. Festival Dances – suitable for special
occasions or any social gathering.
8. War Dances – showing imaginary combat or
duel.
Chief among the influences as reflected in the
style and pattern of the dances are:
1. Religion – Claudia Chapline writes of a
religious dance which purposed to
protect the church from the outer
world.
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Download A reviewer about physical education containing topics about social dances and folk dance. and more Study notes Physical education in PDF only on Docsity!

PE 103 – REVIEWER

I: Multiple choice (1-15) *Overview Brief Historical Background of Dance *Classifications of The Philippine Folk Dances According to Its Nature *Philippine Costume: Fusion of History, Artistry and Identity *Philippine Christian Dances: Female Costume *Dance Abbreviations Test II: Identification (16-25) *Dance Positions Test III: Modified True or False *Dance Terms Test IV: Enumeration (Remember at least 3 Basic Philippine Folk Dance Steps) Overview: Dance is the mother of arts. It is concerned with the communication of emotions or ideas through the medium of movement. The basic vehicle of dance is the human body, and as an art form, dance is expressed in movement. It attempts to convey ideas or feelings through carefully selected patterns which are arranged in a form judged to be the best to meet the needs of that particular communications. Dance is a symbol of cultural identity. It is a medium of cultural fusion with a focus on the intertwining of different cultures. In fact, dance today is not simply cross-cultural but pan-cultural and planetary. Dance will never die because it is being reborn through different dancers, different environments, and different cultures. The dances in the Philippines are deeply rooted in our culture. They are a beautiful part of our national and cultural heritage and it should be made an important part of every Filipino child’s school experience. Brief Historical Background of Dance Art and religion were the most serious concerns of primitive civilizations. Although during the primitive times, their concerns were mainly how to find food and how to increase its supply. Unaware of the artistic aspect, they made use of hunting and fishing as their way of life. Classifications of the Philippine Folk Dances According to its Nature

  1. Occupational Dances – depicting action of certain occupation, industry, or human labor.
  2. Religious or Ceremonial – performed in connection with religious vows and ceremonies.
  3. Comic Dances – depicting funny movements for entertainment.
  4. Game Dances – done with play elements (dance mixers).
  5. Courtship Dances _ depicting love making.
  6. Wedding Dances – performed during wedding feasts.
  7. Festival Dances – suitable for special occasions or any social gathering.
  8. War Dances – showing imaginary combat or duel. Chief among the influences as reflected in the style and pattern of the dances are:
    1. Religion – Claudia Chapline writes of a religious dance which purposed to protect the church from the outer world.
  1. Occupation – Traditional mimetic occupational dances were taught and depict the processes involved in the trade.
  2. Climate – The climate of the country affects the quality of the dance movement.
  3. Geography – Geography plays an interesting and significant influence on dance.
  4. Costume – is determined by two basic factors, climate and geography. A costume is utilitarian in purpose; essentially it serves to protect the body form the elements and to suit the life and work of the owner.
  5. Music – Music is the twin sister of dance. It is intimately related to movement in dance. PHILIPPINE CHRISTIAN DANCES: FEMALE COSTUME I. Filipino Dress (1890s - 1960) A. Baro’t Saya - Collarless blouse called baro and an all-purpose wrap around skirt metamorphosed into the long skirt called saya. This two-piece ensemble usually supplemented by the ancient tapis used as an over skirt, and eventually by the square kerchief called alamapay worn so that it covers the bossom. B. Maria Clara - In the 1900s was used to refer to the 19th century terno. The camisa was made of embroidered jusi or piña, its bellshaped sleeves gathered at the shoulder and flowing out to the wrist, worn with a pañuelo of the same material draped around shoulders, and with a multipaneled skirt of heavy satin. C. Traje de Mestiza - The camisa became a clinging bodice. With sleeves pushed up and the saya deflated to a slim column. The long train which was either pointed, oval or square. D. Balintawak - A 1930’s shortened skirt worn during picnics and other excursion activity into the countryside and associated to Antipolo, a favorite summer destination for Manila dwellers. E. Terno - From the Spanish word means “to match”. A one-piece creation with both bodice and skirt. pañuelo-less and the bodice became fitted. Parts of the Filipino Dress: A. Baro / Camisa - The short collarless upper part or waist length blouse of the Filipino terno, some were elaborately embroidered on the edges or allover. B. Saya - Outer clothes worn by women, with pleats from top to bottom, or from waist to feet. In some provinces of Spain, a black skirt is called saya. C. Pañuelo - A term used interchangeably with alampay. A piece of cloth, more or less a meter square, shape folded into two to a triangle shape, of different sizes and for various uses. Set over the shoulders for neck and chest covering. D. Tapis (Sobre Falda ) – A knee length hip- hugging over skirt. As an accent in the ensemble to keep the lower torso from showing the pureness of the skirt. E. Manggas Sleeves F. Under Garments. Dance Terms
  6. Abrasete – Girl at the R side, holds the R arm of partner with her L hand, free hand down at sides.
  7. Arms in lateral position – both arms are at one side, either R or L.
  8. Arms in reverse “T” position – arms are horizontally sideward, elbows at right angles, forearms parallel to head, elbows are at

with the R foot and tap with the same foot close to the L foot.

  1. Place – to put the sole of the whole foot in a desired position without putting the weight on it.
  2. Point – to touch the floor lightly with the toes, no weight.
  3. Salok – to swing the arm downward upward to fifth position passing in front of the body as if scooping. The trunk is bent forward following the movement of the arm doing the salok.
  4. Saludo – with feet together, partners bow to each other, to audience, or to opposite dancer.
  5. Sarok – with the weight on the L foot, point R foot across the L foot in front, bend the body slightly toward the pointing foot and across the R arm over the L arm.
  6. Stamp – to bring down the foot forcibly and noisily on the floor.
  7. Tap – flexing the ankle point, rap lightly with the ball or toe of the free foot.
  8. Whirl turn – rise on toes and make fast turns by executing mincing steps in place. **Dance Abbreviations
  9. Back - bck.
  10. Backward - bckd.
  11. Clockwise - cw
  12. Counter-clockwise - ccw
  13. Couple(s) - cpl(s)
  14. Count(s) - ct(s)
  15. Figure(s) - fig(s)
  16. Forward - frd
  17. Foot/feet - ft** 10. Opposite - opp 11. Point - pt 12. Partner(s) - ptr(s) 13. Step(s) - stp(s) 14. Sideward - swd 15. Toward – twd Dance Positions 1. Couple Position – dancers join hands, shoulder level
    1. Escort Position – girl holds the R arm of the boy with her L hand
    2. Conversation Position or Flirtation Position – girl’s L hand is placed on the R shoulder of the boy. Boy’s R hand is placed around the girl’s waist.
    3. Facing Position – facing each other, join both hands, chest level or a little lower. 5. Wrap Position – partners face audience, boy stands slightly behind girl. Girl crosses arms (R over L) in front of the waist. Boy holds the L hand of the girl with his own L hand and the R hand of the girl with his own R hand.
    4. Back-Crossed Arm Position – same as front crossed arm position but the arms are crossed at the back.
    5. Promenade or Skater’s Position or Front Crossed-Arm Position – partners face audience. Boy holds R hand of the girl with his own R hand and the L hand of the girl with his L hand.
    6. Varsovienne Position – boy stands slightly behind girl; extend R arms diagonally upward R and L arms in second position.
    7. Reverse Varsovienne Position – same as varsovienne position except that the boy stands in front of the girl. Slightly to the R.
  1. Swing-Out Position – join inside hands, outside hands in second position. Partners face slightly toward audience. 11. Shoulder-Waist Position – partners face each other, girl places both hands on boy’s shoulders. Boy places both hands on girl’s waist.
  2. Close Ballroom Dance Position – partners are facing each other. Girl’s L hand is placed on the R shoulder of the boy. Boy’s R hand is placed on the L waist of the girl. Outside hands joined and are extended toward the audience.
  3. Open Social Ballroom Dance Position – same as close ballroom dance position except that the dancers are facing audience.
  4. Star Position – dancers face opposite direction. Inside hands are joined. FOLK DANCE 1. Traditional dance of a given people. In this form, a definite pattern of dance routine is usually specified and followed. SOCIAL DANCE 2. Includes all dance forms which bring individuals together in dances designed for group participation and enjoyment. It is usually accompanied by popular music. THEATRICAL DANCE 3. Dance performed in theaters or on stage to entertain spectators. ETHNOLOGIC DANCE 4. Dance resulting from centuries of development within the traditions of a particular ethnic group. BALLET 5. A court dance that developed into a highly stylized theater art that is today. It had it beginning in Italy, developed and nurtured in France, and perfected in Russia. MODERN DANCE 6. Concerned with the communication of emotions or ideas through the medium of movement. Sometimes is concerned simply with movement itself. LOCO-MOTOR MOVEMENT 7. Movements through space that bring the body from one place to another. HOP 8. Spring from one foot landing on the same foot AXIAL MOVEMENTS/NON-LOCO-MOTOR 9. Movements done in place, with one part of the body serving as an axis or base around which other parts move. STRETCHING 10. Full extension of the arms, legs, or trunk in any direction. Tempo 1. The speed of the beat. Meter 2. Beats organized into recognizable /recurring accent patterns. Melody 3. The word used to describe the highness or lowness of a musical sound. Melody 4. Thought of as the art of combining pitches into chords. Tone-Color 5. The character or quality of a musical sound or voice as distinct from its pitch and intensity. Mezzo-Piano 6. Moderately quiet. Rhythm 7. Element of "TIME" in music. Fortissimo 8. Very loud Adagio 9. Adagio

a. behavior b. character c. dance demeanor d. dance etiquette

  1. Social dances are of two classifications namely, Latin American and Modern Standard Dances. Which of the following is an example of Modern Standard Dances? a. cha-cha-cha b. jive c. rumba d. waltz
  2. Which of the following is the attire appropriate for males in Modern Standard Dances? a. black/white shirt c. black/white sweat shirt b. black/white long sleeves d. coat and tie
  3. Social dancing can prevent some diseases, caused by sedentary lifestyle, if regularly performed. Which of the following does NOT belong to the group? a. diabetes b. lung cancer c. obesity d. weight gain
  4. Which of the following best describes social dances? a. Social dances are for pairs only b. Social dances can be competed c. Social dances are dances that improve social skills and fitness d. Social dances are dances that entertain people in attendance to a social function
  5. How would you best use the knowledge and skills learned in social dancing to enhance your community’s fitness? a. I will render an intermission number with my partner during fiestas b. I will make social dancing my lifetime fitness activity c. I will share my skills by teaching community folks, young and old, about social dances d. I will coordinate with community officials in conducting a social dancing program for thecommunity
    1. How do social dances contribute to one’s fitness and well-being? a. They help make one physically engaged and active preventing lifestyle diseases b. They cure lifestyle diseases c. The help prevent sedentary lifestyle-related diseases d. They develop one’s talent in dancing
    2. “It takes two to Tango.” What does this quote mean? a. A Tango requires two individuals to dance b. One cannot exist without the other c. It takes two to make any endeavor work d. There should always be two individuals dancing the Tango
    3. The following are dance etiquettes that should be considered in a social dancing activityEXCEPT ONE: a. Wear appropriate dancing attire b. Insist in executing difficult dance steps including aerial combinations with your partner c. Ask someone promptly if you wish to dance with him or her d. Always follow counterclockwise as line of direction social dancing 11.“May I have this dance?” This line implies… a. A boy who treats a girl with respect even in dancing b. A boy forcing a girl to dance

c. A boy with no one to dance with pleading d. A boy who wishes to dance with somebody

  1. Which of the following, aside from fitness, can be developed if one engages in social dancing activities? a. Respect b. sense of community c. courtesy d. all
  2. The following are reasons why fitness is a universal concern EXCEPT ONE: a. We face different challenges everyday and it’s just but proper to keep ourselves fit all the time if we are to overcome them b. Everyone needs to be physically fit to meet daily physical challenges c. One can influence the community fitness consciousness effectively if he or she fosters fitnessand well-being d. To be a good athlete or player in a certain sport.
  3. What happens if one doesn’t have a physically active lifestyle? a. He/she is prone to weight gain, obesity which may lead to diabetes and other cardio- vasculardiseases b. He/she will not be physically fit c. He/she will become sickly d. He/she will become fat
  4. In social dancing, a boy leads while a girl follows. What values can be developed in suchtraining? a. Leadership b. obedience c. respect d. all

R foot backward b. Displace R with the L foot forward ct. 2 Note: Cut step can be done sideward or diagonally backward and forward

. Rocking Step

a. Raise R foot slightly in front in preparation: Fall onto the R foot in front raising the L foot in rear ct. 1 b. Fall onto the L foot in rear and raise R foot in front ct. 2 Note: The movement is done in a rocking motion. Shuffling Step – Count 1 & 2 &

Shuffling steps are usually done forward. As the step is done on the balls of the feet, raise heels slightly.

. Execute tiny gliding steps on balls of feet as many times as desired. Changing 2/4 3/ Step or Palit- Palit a. With a little jump off the floor, land on both Feet with the R in front and the L in rear ct. 1 b. Reverse the position of the feet ct. 2 Cross Step 2/4 3/ a. Step R foot sideward ct. 1 b. Step L foot across the R foot in front ct. 2, 3 (Simplified: Step, Cross-Step) 1 2, 3 Change Step 2/4 3/ a. Step R foot in front ct. 1 b. Step L foot close to the R foot in rear ct. and c. Step R foot quickly in front ct. 2 (Simplified: Step, Close, Step) 1 & 2 Cross Change Step

a. Step the R foot across the L foot in front ct. 1 b. Step L foot close to R in rear ct. and c. Step R foot in place in front ct. 2 (Simplified: Cross-step, Close, Step) 1 & 2

Social Dance

- Are communal dances performed in social gatherings in any given space. - It is classified as: Modern Standard Dances or Latin-American Dances Latin-American Dances - Worn costumes that are revealing, tight fitting, sexy yet sophisticated. - Free in movements and can be performed in close or open hold. Modern Standard Dances  Wear formal, ankle length gowns and coat and tie.  Movements are restricted to close ballroom position with partner. Fitness Side of Social Dancing - Has power to maintain and/or improve fitness. FITT PRINCIPLES - Frequency - Intensity - Time - Type of Activity Dances that are categorized as Latin-American Dance Chachacha Rumba Samba Salsa Paso Doble Jive Swing Mambo Merengue It can be determined through the costume worn by the performing. It is revealing, tight-fitting, sexy and sophisticated in nature. It can be performed in an open or close hold. It can also be easily determined by the nature of the movement. The movement shows rhythmic expression, sensual, and spicy style. CHACHACHA It is a lively, fun, cheeky and playful dance originated in Cuba.

also show different timing relationships such as simultaneous or sequential timing, brief to long duration, fast to slow speed, or accents in predictable or unpredictable intervals. ENERGY Energy is about how the movement happens. Choices about energy include variations in movement flow and the use of force, tension, and weight. An arm gesture might be free flowing or easily stopped, and it may be powerful or gentle, tight or loose, heavy or light. A dancer may step into an arabesque position with a sharp, percussive attack or with light, flowing ease. Energy may change in an instant, and several types of energy may be concurrently in play. Although there are hundreds of dance styles, for simplicity, dance has been categorized into different types of dance in a few large groups: ✓ Folk dance ✓ Ballet ✓ Modern and Contemporary Dance ✓ Hip-Hop (or street dance) ✓ Latin, ballroom and social dance ✓ A folk dance is a dance that reflects the life of the people of a certain country or region. ✓ Oldest form of dance and one of the earliest form of communications. Mrs. Francisca Reyes Tolentino (known today as Mrs. Francisca Reyes Aquino) is considered the mother of Philippine Folk Dances. Philippines has a great variety of dances. Due to its numerous islands, and the scattered position of these islands. ✓ Cordillera Dances ✓ Western Influence Dance ✓ Rural dances ✓ Muslim and Non-muslim Dances The Cordillera dance continues to be an expression of community life that animates the various rituals and ceremonies. They dance to appease their ancestors and gods to cure ailments, to ensure success at war, or to ward off bad luck or natural calamities. Sample Dances: ✓ Banga (Kalinga Tribe) ✓ Bendayan (Benguet Province) ✓ Manmanok (Bago Tribe) ✓ Ragragsakan (Kalinga Tribe) ✓ Turayen (Gaddang Tribe) ✓ Tarektek (Benguet Tribe) ✓ Uyaoy / Uyauy (Ifugao Tribe) Western Influence Dance (Maria Clara) The Maria Clara dances merged Spanish court style (and its stylized courtship conventions) with Philippine exuberance. Maria Clara is the pure and noble heroine of a novel who represents the finest qualities of Filipino womanhood. The dancers wear European 16thcentury dress but move to the sounds of bamboo castanets. Sample Dances: ✓ Jota Intramureña

✓ Engañosa ✓ La Jota Manileña ✓ Jota Paragua ✓ Polkabal ✓ Putritos ✓ Baston ✓ Timawa 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. Sample Dances: ✓ Tinikling – Leyte. ✓ Itik-Itik – Surigao del Sur. ✓ Maglalatik – Biñan, Laguna. ✓ Binasuan – Pangasinan. ✓ Kappa Malong-Malong – Maranao in Mindanao. ✓ Cariñosa – Panay Island. Mindanao and Muslim dance mirror the people’s expression. They show not only the Artistic Ingenuity of the natives, but also their beliefs, traditions and life are reflected in them. These dances have for long survived. Sample Dances: •Singkil. •Pangalay. •Dugso. •Sagayan. •Karasaguyon. •Asik. •Udol.