Republic of the Philippines

Department of Education
LA PAZ NATIONAL HIGH SCHOOL
San Narciso District | Province of Zambales
School ID: 301017
HANDOUTS IN HEALTH OPTIMIZING PHYSICAL EDUCATION 3 FOR GRADE 12

D A N C E
Prepared by: N E I L R E B O J A F A C T U R A, L P T

I.DANCE  improves lipid metabolism

 An art or method of expression using the human body  enables joint mobility
moving through space  improve and maintain bone density, prevent osteoporosis
 recover coordination and neuromuscular skills after injury
Functions of Dance:
2. Mental/Emotional
A. To please God  Keep the brain sharp
B. To please others  Decrease incidence of dementia and Alzheimer’s disease
C. To please themselves or self-expression  Decrease depressive symptoms
D. To build community within an ethnic  Aids in releasing emotional and physical tension
group or social interaction (Myers 2005) 3. Social
Where Dances come from?  Gives sense of togetherness within a group
 The first use of dance was a gesture in order to communicate.  Encourages positive social interactions and interpersonal
ANCIENT  As a means of religious expression relationship in a group
It was reflected I their wall paintings, reliefs  Contributes to the Potential for self-actualization in society.
EGYPT
and literary record in hieroglyphs, dances 4. Cultural – Promotes Cultural values
during this era were medium of religious
expression. III. Classifications of Dance
ANCIENT  Dancing as an aid to military education among A. Interpretative Dance
GREECE boys in Athens and Sparta, form of entertainment  Meant to be interpreted for performances and staging.
and display. Dance literatures and signature basic steps are already
Dance used in education- Plato, Aristotle and inherent to these dances which serve as identifying steps to
Socrates supported this art as an integration the dance. Such dances include folk dance, ballroom
of the body and soul dance, and ballet
ANCIENT  Dance – integral part of the corruption in the B. Creative Dance
ROME latter days of Roman Empire. Resulting in the  These dances are highly improvisational in nature
condemnation of dance by the early Christians considering the different elements necessary in the creation
 Catholic Church in Europe was the sole of dance. Dances that fall under this classification include
custodian of learning and education as well as modern-contemporary dance, jazz, pop and hip-hop (b-
morals. boying).
 1st Christian emperors came, theatrical
entertainment was prohibited.
 Christian fathers approved the use of dance- IV. ELEMENTS OF DANCE
worship and church service A. TIME- duration of performance
DARK & Performed in village squares | welcomed in
the chateaus of feudal lords.
B. ENERGY- movements propelled by force
EARLY
MIDDLE Common people amused themselves by
doing dances that were in social character- TYPES of Movements
AGES
marked the beginning of social dance. 1. Locomotor-allows one to move from one point to another
TYPES OF DANCE
Example: Walk, run jump
1. Round dance- dancers hold each other by hand,
forming a long chain and move about in an open or 2. Non-Locomotor- These are movements that are
closed circle or in an extended line. performed in one point in space without transferring to
2. Couple dance- considered as scandalous dance another point.
when first seen. Example: Flexion (bend), Extension (extend),twist pivot,
Noblemen danced in smooth floor or wood or turn
polished marble called ballroom C. SPACE- area that the performers occupy.
RENAISS-  Dance was accepted in the courts
ANCE 1. Floor Pattern - Patterns created by the body as it moves
PERIOD through space examples of which include lines, letters,
15th-16th  the rise of the art of ballet in Italy and France shapes or polygons, and other non-geometric patterns.
century in  Contemporary dance- stylistic variation of ballet 2. . Direction - The course or way in which movement is
Europe emerged in Europe directed with reference to the frntal plane of the body.
Examples include forward, backward, sideward, diagonally
II. Benefits of Dance and Creative Movements sideward and upward.
1. Physical 3. Focus - Point of attention by either the performer or the
 Develops cardiovascular and muscular endurance audience. It may be a personal focus or general focus.
 Improves coordination, balance, flexibility and body Personal focus is the point of attention by the performer
composition. while performing, while general focus is the point of
 Lowers body mass index attention that the performer draws the audience to.
 lowers body heart rate
Prepared By; Mr. Neil Reboja Factura- Subject Teacher | HOPE 12 | PHYS. ED. & HEALTH | DANCE| Page 1 of 6
 5. Dimension - How performers appear with reference to PHILIPINE Folk Dances, regardless of their
the audience’s view classifications, may also be categorized as:
6. Balance - It may be static or dynamic in nature. Static
balance is balance at rest, while dynamic balance is
1. Life Cycle Dances-
balance in motion. - Dances relating to cycle of human life such as birthing,
7. Levels - They are classified as low, middle and high with courtship, wedding and funeral.
the lowest level the basis of middle and high levels 2. Festival Dances
8. Mass and Volume - This is dictated by the number of - Either religious or secular and are connected with the
bodies performing through space. celebration of recurring special events
9. Contours and Shapes - Shapes and forms created by 3. Occupational Dances
the body or bodies as they move through space - Depicts the means of livelihood of the Filipino.
4. Ritual/ Ceremonial Dances
V. DANCE COMPOSITION - performed as part of rituals or ceremonies
1. FORM- ideas and elements are arranged or 5. Game Dances
combined into a logical sequences which results - Derivations from local folk games
2. PHRASE-when you combine one movement with 6. Joke and Trickster Dances
several others, they form a unit. - Jokes or tricks played by a dancer or a group of
3. MOTIF- single movement or a short phrase that dancers who is one of them
7. Mimetic or Drama dances
embodies the intention of the dance
- Dances that mimic animals, inanimate objects or other
VI. CHARACTERISTICS OF A GOOD DANCE people.
1. UNITY- interconnected phrases of the dance are coherent 8. War dances
and flow smoothly together - Dances expresses feud and enmity wherein two male
2. CONTINUITY AND DEVELOPMENT- Phrases of the dance dancers engage in physical combat
that are arranged progressively, making each movement 9. Social amenities
phases move naturally into the next - All social ballroom dances and most of the filipinized
3. VARIETY AND CONTRAST-Making one or several western dances that show camaraderie merriment
variations that highlight the facet of the motif belong to this group.
4. TRANSITION- Link between movements, phrases, and
sections of the dance VIII. FOLK DANCES AND THEIR MEANING
5. REPETITION- phrases, sequence of steps that are Cordillera
repeated. 1. Banga
6. CLIMAX- Apex of the energy in the dance is reached -It literally means “pots”. The Banga or pot dance is a contemporary
performance of Kalinga of the Mountain Province in the Philippines.
VII. FOLK DANCE This dance illustrates the languid grace of a tribe otherwise known as
 A form of expression of oneself through rhythmic movement. fierce warriors. Heavy earthen pots, as many as seven or eight at a
 It is handed down from generation to generation time, are balanced on the head of maidens as they trudge to the beat
 the oldest form of dance and the earliest form of communication
of the “gangsa” or wind chimes.
 FOLK DANDING is one of the most enjoyable and highly educational
activities to participate in. It is enjoyable to all ages. 2. Bendayan
-Also popularly called “Bendian” is a circle dance of the Benguet of
5 Classifications of Philippine Folk Dances Mountain Province. Long known, it is a dance to celebrate the arrival of
1. Cordillera Dances successful head hunters.
 Dances that reflects rituals which celebrate their daily lives for a 3. Lumagen/Tachok
good harvest, health, peace, war and other symbols of living. -It is performed when Kalinga gather to celebrate a happy occasion like
 Bontoc, Ifugao, Benguet, Apayo, & Kalinga tribes the birth of a first-born baby boy, a wedding, or a budong (peace pact).
 Dances：Idudo, Banga, Tadek, Uyaoy, Ragragsakan, Bendian The dance imitates birds flying in the air.
2. Tribal Dances 4. Manmanok
 Dances that reflects rituals and animals, beliefs in spirits and -Three Bago Tribe roosters compete against each other for the
shamans or “Anitos”. attention of Lady Lien. They use blankets depicting colorful fumes to
 intricate craftsmanship in metal, clothing, and jewelry attract her.
 It shows hunting and animal movements portraying their way of Life. 5. Ragragsakan
 Dances: Manobo – “Bangkakaw, T’boli – “Madal Tahaw” -This dance portrays the walk of the industrious Kalinga women,
3. Maria Clara Dances carrying water pots on their heads and wearing the colorful hand-
 Dances reflects socialites to the Christianity, and stringed music of woven “blankets of life” around their necks. Their walk imitates the
European art and the rondalla culture climb up the Rice Terraces in the Mountain Province.
 Dance examples： Jota Cabangan, Habanera Narcisenia, Mantones
de seda
Tribal
4. Muslim Dances 1. Kadal Blelah
Tribe: T’boli Origin: Lemloslon, South Cotabato
 Dances that Influenced by Malay, Javanese & Middle Eastern
- Dancers perform a simulation of movements of birds.
Traders (Islam).
2. Kadal Tahaw
 Uses intricate hand & arm movement the fingers express feelings &
Tribe: T’boli Origin: Lake Sebu, South Cotabato
emotions
- A bird dance performed by the T’boli during planting and
 Uses shimmering costumes
harvesting which simulates the flight and hops of the tahaw bird.
 Dance examples：Singkil, Sua-ko-Sua, Asik, Kuntao-silat
3. Binaylan
5. Rural Dances/Sayaw sa Nayon Tribe: Higaonon Origin: Agusan
 Reflects the simple life of people in the barrio - The Bagobo tribe from the central uplands of Mindanao
 Depicts common work, clapping, rondalla, daily activities of the originated this dance which imitates the movements of a hen, her
percussion peasants instruments banog, or baby chickens, and a hawk. The hawk is sacred, and it is
 Shows gaiety & laughter, festivities believed that the hawk has the power over the well-being of the tribe.
 Performed in fiestas to honor patron saints The Hawk tries to capture one of the chicks and is killed by the
 give homage to the barrios namesake for a good harvest, hunters.
health, &Indigenous materials, 4. Bagobo Rice Cycle
 Dances: Tinikling Binasuan, Maglalatik,Subli - This Bagobo tribal dance portrays the cycle of planting and
harvesting of rice.
Prepared By; Mr. Neil Reboja Factura- Subject Teacher | HOPE 12 | PHYS. ED. & HEALTH | DANCE| Page 2 of 6
 5. Dugso 5. Pangsak
Tribe: Talaindig Origin: Bukidnon Tribe: Yakan
- A dance of thanksgiving Origin: Basilan
The yakan are a Muslim ethnic group in the highlands of
Maria Clara Mindanao. They wear elaborately woven costumes tightly on their
1. Imunan (San Jacinto, Pangasinan) bodies. Both of their faces are dotted with white paint, to hide their
Imunan, a courtship dance, means jealousy. The dance depicts a love identity from evil spirits.
triangle; two girls and one boy. In this dance, the boy tries to please the 6. Pangapir
girls who are trying their best to get his attention and favor. The boy Tribe: maranao
shows an admirable attempt to please both girls by paying attention, Origin: Lanao Del Sur
flirting, and dancing with them, one after the other. Pagaper depicts a royal manner of walking among the maranao
2. Jota de Paragua (Cuyo, Palawan) people who lives mainly around Lake Lanao. Ladies of the royal
Named after the old name of Palawan province, this dance retains the court perform this stately dance in preparation for an important
fiery flavor of the Jota, coming from the once popular Spanish capital of event.
Seville and adapted by the local dancers of Palawan. The ladies wave 7. Paunjalay
their manton, or decorative shawl, while the gentlemen keep brisk pace A pre-nuptial dance of the yakan tribe of basilan performed by the
with bamboo castanets. bride and groom prior to their wedding ceremony in the langal or
3. La Estudiantina (Antimonan, Quezon) church. Both of their faces are dotted with white paint, to hide
Performed by the daughters of privileged Filipinos during their days at their identity from the evil spirits
the convent schools. The "estudiantinas" or female students are seen
holding a book in hand throughout this very gay and lively dance. Rural
4. La Gallina Ciega (Manila) 1. Itik-itik (Surigao del Norte)
Meaning "the blind chicken," La Gallina Ciega was a popular game of - A young lady named Kanang (the nickname for Cayetana),
the 1800s in which a person was encircled by many people and left to considered the best dancer and singer of her time, was asked to dance
find themselves blindfolded. In the Philippines, this game was adapted the Sibay. She became so enthusiastic and spirited during the
to a polka style dance that featured a blindfolded guitarist as he is performance that she began to improvise movements and steps similar
teased and flirted with by many women. of itik, the duck as it walks with short, choppy steps and splashes water
5. La Jota Isabela (Cuayan, Isabela) on its back while calling its mate.
La Jota dances were the most popular during and after the Spanish 2. . Binasuan (Bayambang, Pangasinan)
regime. Named after Queen Isabela of Spain, Isabela province in - It shows of the balancing skills of the dancers. The glasses that the
northwestern Luzon is home to a very lively adaptation of the Spanish dancers gracefully, yet carefully maneuver are half-filled with rice wine.
Jota. Binasuan means “with the use of drinking glass” in Pangasinan.
6. La Jota Manileña (Manila) 3. Maglalatik (Binan, Laguna)
Originating from the capital city of Manila, La Jota Manileña is an - a war dance depicting the fight between the Moros and the Christians
adaptation of the Spanish jota. It is performed with the use of bamboo over the latik (residue after the coconut milk has been boiled).
castanets. 4. Pandanggo sa Ilaw (Lubang Island, Mindoro)
7. La Simpatika (Pangasinan) - The term pandanggo comes from the Spanish word fandango, which
Simpatika means demure, charming, and lovable; qualities of a is dance characterized by lively steps and clapping that varies in
señorita deeply in love. The flavor and context of La Simpatika centers rhythm of ¾ time. This particular pandanggo involves the presence of
on love exploits of gentlemen suitors who are after the love of their life. three tinggoy, or oil lamps, balanced on the head and the back of each
In the Philippines where moral rules are strict and binding, society calls hand.
for the ladies to be impeccably demure and gentlemen to be prim and 5. Sakuting (Abra)
proper. - A dance of Ilokano Christians and non-Christians from thr province of
8. Lanceros de Tayabas (Tabayas, Quezon) Abra, Sakuting was originally performed by Cboys only it portrays a
Lanceros takes its name from the chivalrous knights and lanciers of mock fight using sticks to train for combat. The staccato-inflected
King Arthur's fame. Taking off from the tournament grounds, the music suggests a strong Chinese influence. The dance is customarily
lanciers was reinterpreted into a form of dance performed in great performed during Christmas at the town plaza, or from house-to-house.
ballrooms of majestic palaces where noble gentlemen crossed lines The spectators give the dancers Aguinaldo, or gifts of money or
with graceful ladies. In Tayabas, the dance came to be known as refreshments especially prepared for Christmas.
Lanceros de Tayabas, noted as a divertissement for the comedia 7. Sublian (Batangas)
stage-play, also a Spanish import. - this version is from Talumpok, a ritual dance. A favorite dance of the
people in nearly all the barrios of the municipality of Bauan, Batangas
MUSLIM in the month of May. It is ceremonial worship dance performed in
1. Pangalay homage of the Holy Cross referred to in the vernacular as Mahal na
Tribe: Badjao Poong Santa Cruz. The name subli is derived from two words “subsub”
Origin: Zamboanga Del Sur (stooped or in a crouching position) and bali (broken). Thus the men
- A pangalay native to badjao, sometimes known as the “sea dancers are in trunk-forward-bend position throughout the dance.
gypsies”. Pangalay is a dance that emphasizes the agility of the 8. Tinikling (Leyte)
upper body. - It imitates the tikling bird’s legendary grace and speed as they
2. Burung talo skillfully play, chase each other, run over tree branches, or dodge
Origin: Tausug bamboo traps set by farmers. Hence, it aids named after the bird
A form of self defense, the dance like movements shows a fight tikling. This version of the dance is done between a pair of bamboo
between a hawk and a cat. poles.
3. Asik
Tribe: Maguindanao
Origin: Lanao Del sur BASIC FUNDAMENTALS of ARMS and FEET
- A solo slave dance performed by the umbrella bearing attended ARMS POSITIONS
to win the favor of her sultan master. 1st position
4. Singkil -Both arms are raised forward in a circle in front of the chest with the
Tribe: Maranao fingertips about an inch apart.
Origin: lanao, Mindanao 2nd position
- Singkil dance take its name from the bells worn on the ankles of -Both arms are raised sideward with graceful curve at shoulder level.
Muslim princess. Perhaps one of the oldest of truly Filipino dances, 3rd position
the singkil recounts the epic legend of the “darangan” of the -Left arm is raised sideward as in 2nd position; right arm raise upward.
maranao people of Mindanao. 4th position

Prepared By; Mr. Neil Reboja Factura- Subject Teacher | HOPE 12 | PHYS. ED. & HEALTH | DANCE| Page 3 of 6
-Left arm is raised in front as in first position; right arm raised
overhead. BASIC DANCE STEPS IN 4/4 TIME SIGNATURE
5th position Dance Step Step pattern
-Both arms are raised overhead a. Ct. 1 2 3 4 = 1M
1. Schottiche Step, close, step, hop (raise foot in
FEET POSITIONS front)
1st position 2. Escotis Step, close, step, hop (raise foot in
-Heels close together; toes apart within an angle of around 45 degrees. rear)
2nd position B. Ct. 1 2 3 4 1 2 3 4 =2M
-Point the right toe sideward; bring down the heel of the right foot. 1. Chotis Brush, raise, brush, raise, step,
3rd position step, step. Close or pause
-Heel of one foot is close to in step of other foot.
4th position COMMON DANCE TERMS:
-Point the right toe forward; bring down the heel of the right foot. 1. Amplified- more open positions on 1st or 5th positions.
5th position 2. Lateral- both arms raised at one side parallel to each other.
3. Hayon- Hayon- one arm bent in front at waist level. The other is
-Close the right foot to the left by circling and return to the first position.
bent behind also at waist level.
4. “T” position- both arms at sides and bent at the elbows so that
BASIC DANCE STEPS IN 2/4 TIME SIGNATURE the upper arms re at shoulder level.
Dance Step Step Pattern 5. Reverse “T” position- both arms at sides and bent at the
A.Ct. 1 2 = M elbows so that the forearms are parallel to the head, palms
1. Touch step Point, close facing inwards.
2. Bleking step Heel, place, close 6. Arms in lateral position– both arms at one side, either right or
3. Close step Step, close left; at shoulder, chest, or waist level.
7. Brush- weight on one foot, hit the floor with the ball or heel of
4. Hop step Step, hop
the other foot, and lift that foot from the floor to any direction.
5. Slide step Slide, close
8. Clockwise- like the motion of the hands of the clock. R
6. Cross step Step, cross or Cross, step shoulder is toward the center of an imaginary circle. When facing
B.Ct. 1 and 2 =1M center, movement is toward the left.
1. Change step Step, close, step 9. Counter clockwise- the reverse direction of clockwise, L
2. Cross and change step Cross-step, close, step shoulders toward center. Movement is toward right when facing
3. Contraganza Leap, cross-step, step center of circle.
C. Ct. 1 2 and = 1M 10. Costados- the couple occupying the length of the hall when
1. Habanera step Step, close, step dancers are in square formation (side pair)
D.Ct. and 1 and 2= 1M 11. Crossed arms- partners facing each other or standing side
1. plain polka Raise-step, close, step by side join their L hands together and the R hands together;
2. Hop polka Hop-step, close, step either R over L or L over R.
E. Ct. 1 2 1 and 2 = 2M 12. Cut- to displace quickly one foot with other.
1. Heel and toe change Heel-place, toe-point, raise-step, 13. Do-si-do- partners advance forward, pass each other’s right
close, step (or left) side, step across to the right (or to the left) move
G. Ct. 1 and 2 (do as many times as desired) backwards without turning around, pass each other left (or
1. Mincing step With heels raise, take as many right)side to proper places.
steps as desired 14. Free foot- the foot not bearing the weight of the body.
2. Shuffling step With both feet flat on the floor, take 15. Free hand- the hand not placed anywhere, or not doing
tiny slide steps anything.
3. Chasing steps With one foot leading, take 16. Hands on waist- place hands at the waist line, knuckles in,
successive close steps to any fingers pointing rear.
direction 17. Hapay- to flourish or offer a handkerchief, hat, glass of wine
to somebody as a sign of invitation.
BASIC DANCE STEPS IN ¾ TIME SIGNATURES 18. Hop- a spring from one foot-landing on the other foot in
Dance Steps Step Pattern place or in any direction.
A. ct. 1-2 3 = 1M 19. Inside foot- the foot nearer the partner when partners
1. Touch step Point, close stand side by side.
2. Bleking step Heel, place, close 20. Jaleo- partners turn around clockwise (with R L elbows
3. Close step Step, close almost touching) or counter clockwise (with L elbows touching)
4. Hop step Step, hop using walking or any kind of dances.
21. Jump- a spring on one or both feet landing on both feet in
5. Slide step Slide, close
any direction.
6. Cross step Step, cross or Cross, step
22. Kumintang- moving the hand from the wrist either in a
7. Step-swing Step, swing
clockwise or counter clockwise direction.
8. Step-swing hop Step-swing, hop 23. Leap- a spring from one foot, landing on the other foot in any
9. Step-brush-swing-hop Step, brush-swing, hop direction.
B. Ct. 1 2 3= 1M 24. Masiwak-to turn the hand from the wrist halfway clockwise,
1. Native waltz Step, close, step then raise and lower wrist once or twice.
2. Cross waltz Cross-step, close, close 25. Outside foot- the foot away from one’s partner when
3. Mazurka Step, close-heels raise, heels-down partners stand side by side.
4. Redoba Slide, cut, hop 26. Outside hand- the hand away from one’s partner, when
C. ct. 1-2 3 1 2-3 partner’s stand side by side.
1. Sway balance with a point Step, cross-step, step, point 27. Panadyak- to stamp in front or at the side with R (L) foot
2. Sway balance with a raise Step, cross-step, step, raise and top with same foot close to the L (R) foot. Weight of the body
3. Sway balance with a brush Step, cross-step, step, brush on L (R) foot. This is a tagalong term.
4. Sway balance with a hop Step, cross-step, step, brush 28. . Partner- girl to right of boy and boy to left of girl
5. Sway balance with a close Step, cross-step, step, close 29. Patadyong- a kind of woven material usually of cotton,
6. Engano step with a close Step, cross step, step, close plaid, multi-colored skirt, popularized by Miag-ao weavers of
Iloilo.
30. Place- to put foot in a certain position
Prepared By; Mr. Neil Reboja Factura- Subject Teacher | HOPE 12 | PHYS. ED. & HEALTH | DANCE| Page 4 of 6
 31. Pivot- to turn with the ball, heel, or whole foot, on a fixed place or point.
32. Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
33. Salok- swinging the arm downward-upward passing in front of the body as if scooping; the trunk is bant forward following the
movement of the arm doing the salok.
34. . Sarok- cross the R(or L) foot infront of the L (or R) bent the body slightly forward and cross hands down in front with the R
(or L) hand over the L (or R)
35. Saludo- partners with feet together bow to each other, to the audience, opposite dancers, or the neighbors.
36. . Set- a dance formation like a square or a unit formation composed of two or more pair.
37. Slide- to glide foot smoothly along the floor.
38. Stamp- to bring the foot forcibly and noisily on the floor.
39. Supporting foot- the foot that bears the weight of the body.
40. Tap- to tap slightly with the ball of the foot or toe of the free foot keeping weight of the body on the other foot. There is no
transfer of weight.
41. Whirl- to make fast turns by executing small steps in place, right, or to left.

References:
 Physical Education and Health Volume II, Rex Book store, Manila Philippines; Aparato, Callo, Brebarante and Dajime 2017
 Grade 10 PE learner’s Material- 4th quarter
 https://www.slideshare.net/dgurlwholovesherlyf/introduction-to-dance-78217448?qid=796ce8c5-800b-4aa1-9796-
9dd0560ea154&v=&b=&from_search=1
 http://julstolentino.blogspot.com

31. Pivot- to turn with the ball, heel, or whole foot, on a fixed place or point.
32. Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
33. Salok- swinging the arm downward-upward passing in front of the body as if scooping; the trunk is bant forward following the
movement of the arm doing the salok.
34. . Sarok- cross the R(or L) foot infront of the L (or R) bent the body slightly forward and cross hands down in front with the R
(or L) hand over the L (or R)
35. Saludo- partners with feet together bow to each other, to the audience, opposite dancers, or the neighbors.
36. . Set- a dance formation like a square or a unit formation composed of two or more pair.
37. Slide- to glide foot smoothly along the floor.
38. Stamp- to bring the foot forcibly and noisily on the floor.
39. Supporting foot- the foot that bears the weight of the body.
40. Tap- to tap slightly with the ball of the foot or toe of the free foot keeping weight of the body on the other foot. There is no
transfer of weight.
41. Whirl- to make fast turns by executing small steps in place, right, or to left.

References:
 Physical Education and Health Volume II, Rex Book store, Manila Philippines; Aparato, Callo, Brebarante and Dajime 2017
 Grade 10 PE learner’s Material- 4th quarter
 https://www.slideshare.net/dgurlwholovesherlyf/introduction-to-dance-78217448?qid=796ce8c5-800b-4aa1-9796-
9dd0560ea154&v=&b=&from_search=1
 http://julstolentino.blogspot.com
M

Prepared By; Mr. Neil Reboja Factura- Subject Teacher | HOPE 12 | PHYS. ED. & HEALTH | DANCE| Page 5 of 6
Prepared By; Mr. Neil Reboja Factura- Subject Teacher | HOPE 12 | PHYS. ED. & HEALTH | DANCE| Page 6 of 6