Physical Activity Towards Health and Fitness 3 PDF

**Santiago City** **Tel/Fax: (078)-682-8454 / 305-0957** [**[www.northeasterncollege.edu.ph]**](http://www.northeasterncollege.edu.ph) **PHYSICAL EDUCATION UNIT** **Physical Activity Towards Health and Fitness 3** Movement and movement skills refer to the physical actions and abilities that all...

**Santiago City** **Tel/Fax: (078)-682-8454 / 305-0957** [**[www.northeasterncollege.edu.ph]**](http://www.northeasterncollege.edu.ph) **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. 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. - 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. - 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. 2. Local Dances- found in a certain locality. B. Nature 1. Occupational- 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- with play elements (dance mixers) 5. Weddings dance- performed during wedding feast 6. Courtship dances- depicting lovemaking 7. Festival Dances- suitable for special occasion or any social gathering 8. War dances- showing imaginary combat or duel **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 - **ILOCANO-**moving the hand from the wrist in a clockwise direction - **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 5^th^ 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 | **NO. OF | | | | PATTERN** | MEASURES** | +-----------------+-----------------+-----------------+-----------------+ | **POLKA | 1. 1 & 2 & | 1. Step, Close | | | SERIES** | | Step | | | | 2. Ah, 1 & 2 & | (Pause) | | | 1. PLAIN POLKA | | | | | | 3. 1, 2, 1 & 2 | 2. Hop, Step, | | | 2. HOP POLKA | & | Close Step | | | | | (Pause) | | | 3. HEEL AND | 4. 1 & 2 &, 1 | | | | TOE POLKA | & 2 & | 3. Heel-place, | | | | | Toe-point; | | | 4. SLIDE POLKA | | Step, Close | | | | | Step | | | | | (Pause) | | | | | | | | | | 4. Slide-Step, | | | | | Close Step | | | | | (Pause) | | +-----------------+-----------------+-----------------+-----------------+ | **BLEKING** | 1 2 | heel-place | 1 | | | | close | | +-----------------+-----------------+-----------------+-----------------+ | **CHANGE STEP** | 1 & 2 | Step, Close, | 1 | | | | Step | | +-----------------+-----------------+-----------------+-----------------+ | **CROSS CHANGE | 1 & 2 | Cross-step, | 1 | | STEP** | | Close, Step | | +-----------------+-----------------+-----------------+-----------------+ | **HABANERA** | 1 2 & | Step, Close, | 1 | | | | Step | | +-----------------+-----------------+-----------------+-----------------+ | **CLOSE STEP** | 1 2 | Step R (any | 1 | | | | direction); | | | | | close L to R | | +-----------------+-----------------+-----------------+-----------------+ | **CROSS STEP** | 1 2 | Step R, cross | 1 | | | | and step L, | | | | | across R | | +-----------------+-----------------+-----------------+-----------------+ | **HOP STEP** | 1 2 | Step R (any | 1 | | | | direction); hop | | | | | on R | | +-----------------+-----------------+-----------------+-----------------+ | **BRUSH STEP** | 1 2 | Step R (any | 1 | | | | direction); | | | | | brush L | | +-----------------+-----------------+-----------------+-----------------+ | **SLIDE STEP** | 1 2 | Side R | 1 | | | | (sideward/forwa | | | | | rd); | | | | | close L to R | | +-----------------+-----------------+-----------------+-----------------+ | **SWING STEP** | 1 2 | Step R | 1 | | | | (sideward/forwa | | | | | rd); | | | | | swing L across | | | | | R | | +-----------------+-----------------+-----------------+-----------------+ | **¾ TIME | | | | | SIGNATURE** | | | | +-----------------+-----------------+-----------------+-----------------+ | **WALTZ | 1. 1, 2, 3 | 1. Step, | 1. 1 | | SERIES** | | Close, Step | | | | 2. 1, 2, 3 | | 2. 1 | | 1. NATIVE | | 2. Step, Close | | | WALTZ | 3. 1, 2, 3 | and Raise | 3. 1 | | | | heels Up, | | | 2. WALTZ | | down | | | BALANCE | | | | | | | 3. Cross-step, | | | 3. CROSS WALTZ | | Close, Step | | +-----------------+-----------------+-----------------+-----------------+ | **SWAY BALANCE | 1. 1, 2, 3 11, | 1. Step, | | | SERIES** | 2, 3 | cross-step/ | | | | | step, point | | | 1. WITH A | 2. 1, 2, 3 11, | | | | POINT | 2, 3 | 2. Step, | | | | | cross-step/ | | | 2. WITH A | 3. 1, 2, 3 11, | step, | | | WALTZ | 2, 3 | close, step | | | | | | | | 3. WITH A HOP | 4. 1, 2, 3 11, | 3. Step, | | | | 2, 3 | cross-step/ | | | 4. WITH A | | step, | | | BRUSH | 5. 1, 2, 3 11, | raise, hop | | | | 2, 3 | | | | 5. WITH A | | 4. Step, | | | RAISE | 6. 1, 2, 3 11, | cross-step/ | | | | 2, 3 | step, brush | | | 6. WITH A | | | | | CLOSE | 7. 1, 2, 3 11, | 5. Step, | | | | 2, 3 | cross-step/ | | | 7. DOUBLE SWAY | | step, raise | | | BALANCE | | | | | | | 6. Step, | | | | | cross-step/ | | | | | step, close | | | | | | | | | | 7. Step, | | | | | cross-step/ | | | | | step, | | | | | point/cross | | | | | -step, | | | | | step/point | | +-----------------+-----------------+-----------------+-----------------+ References:. 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*