Dlp-Hope Iii Jerry P. Tubo

Lesson Plan in Health Optimizing Physical Education III
Content Standard:
The learners demonstrate understanding of dance in optimizing one’s
health as a habit; as requisite for physical activity assessment
performance, and as a career opportunity.
Performance Standard:
Leads dance events with proficiency and confidence resulting in
independent pursuit and in influencing others positively
Learning Competencies and Code:
Discusses the nature of the different dances. PEH12FH-Ia-19
Quarter: First Week: 1 Day: 1
I. Objectives:
At the end of the lesson, 100% of the learners are expected to:
a. Discusses the nature of the different dances,
b. Identify the benefits of dance to students,
c. Appreciate the importance of dancing as part of a lifestyle for fitness
II. Content
Subject Matter: Introduction to dance

Integration: Values Education: Knowing Your self
Strategies: Discussion Pen and Paper Test and Reporting
Materials: SANAY Guro 2014 National Training Dance handbook
References: PE and Health II. Aparado R. Zyra Ruth .. Rex Printing
Company INC
III. Learning Tasks
Preliminaries
 Prayer
 Greetings
 Classroom Management (fix your chair, check your jogging pants and t shirt, Lines)
 Checking of Attendance
How are you today? Did you eat your lunch already?
Review of Previous Lesson
Ask the students about their previous lesson
A. Activity
Picture Analysis: Show pictures from a different dances.

Let the learners identify the different classification of dances by placing the pictures
on the board/or Manila paper. Do it by group
1
Ethnic Folkdance Ballet Hip hop Contemporary Cheer
Dance dance
Note: A much as possible teacher should prepare many pictures
B. Analysis
What classification of dance you love most?
How do this dances evolved from the past up to the present?
Ask LOTS and HOTS questions...

Don’t forget to process their answers
2
C. Abstraction
History and Nature of Dance
Let the learners give their insights about this quotation…

“Before man can do anything, he must draw move. Movement is the source and
condition of life. To dance is to be out of yourself. Larger, more beautiful, more
powerful. This is powerful, it is glory on earth and it is yours for the taking.”
Ask somebody in the class…
What is Dance?
-the movement of the body in a rhythmic way, usually to music and within a given
space, for the purpose of expressing an idea or emotion, releasing energy, or simply
taking delight in the movement
Benefits of Dance and Creative movement
Physical
Develop cardiovascular endurance
Improves coordination, balance flexibility, and body composition
Lower risk of cardiovascular diseases
lower body mass index
lower resting heart rate
Improve lipid metabolism
Enable joint mobility
helps improve and maintain bone density
Mental/Emotional
Help keep the brain sharp
Decreases incidence of dementia Alzheimer’s disease
Decreases depressive symptoms
Increases self-esteem and improves body image
Aids in releasing emotional and Physical tension
Social
Give sense of togetherness within within a group
Encourages positive social interaction and interpersonal relationship in group
Contribute to the individual’s potential for self- actualization in society
Cultural
promotes cultural values
D. Application
Classroom Activities
Activity 1. Loop A Word

Direction: Underline or encircle the given words in this puzzle. Write your
answer in a ½ sheet of paper. Define the word/s found in the table.
3
P H Y S I C A L D R
H S A O R G M U F O
I H S C U L T U R E
P U D I E G V P I M
H F F A D H C J K O
O H G L F J H H F T
P D H Z M D E F I I
D A N C E G A G T O
Y D J X N F L H N F
R J K C T H T J E K
D G L V A J H Y S S
N W E L L N E S S L
Activity 2
Give at least five benefits of dance based on the following:
Divide the class into 5 groups, let them assign somebody to discuss.
Write it in a Manila paper.
Physical Emotional Mental Social Cultural
Note: Teacher should ask question and give insight also about the student’s reports
4
IV. Assessment/Evaluation
Rubrics
Criteria 5 4 3 2 Total
Excellent VS S B
Group answer correctly

Mastery of the topic
Delivery and Presentation

of the topic
Cooperation
Total
V. Assignment/Enrichment
Next meeting please read in advance about Elements of Dance
Reflection:
A. No. of learners achieve 80%:
B. No. of learners who require additional activities for remediation:
C. Did the remedial lesson work?
D. No. of learners who have caught up the lesson:
E.No. of learners who continue to require remediation:
F. Which of my teaching strategies work well? Why did this work?

G. What difficulties did I encounter which my principal or supervisor help me
solve?
H. What motivation or localized materials did I use/discover which I wish to
share with other teacher?
I.No. of learners achieve 80%:
5
Content Standard:
Describes how to optimize the energy systems for safe and improved
performance PE12FH-Ib-c-2
Quarter: First Week: 2 Day: 2
I. Objectives:
a. Describes how to optimize the energy systems for safe and improved
performance,
b. Execute the dance with energies, bodily and group shapes,
c. Internalize the different elements of dance to improve the performance.
II. Content
Subject Matter: Elements of Dance

Integration: Science: Body Movements/ Body Parts
Strategies: Dance, Skill Demonstration, Group Activities
Company INC
(https://www.youtube.com/watch?v=UGuD9Geeb2k)
III. Learning Tasks
Preliminaries
 Prayer
 Greetings
 Classroom Management (fix your chair, check your jogging pants and t shirt,
Lines)
 How are you today? Did you eat your lunch already?
6
A. Activity
Show a video clips about dance
https://www.youtube.com/watch?v=40we8mxsKNs
B. Analysis
What are the movements you observed from the video?

Why body movements are fundamentals in dancing?
Differentiate Loco motor and Non loco motor movement
Enumerate loco motor and non-loco motor movements?
Let the learners execute the loco motor and non-loco motor movements.
Process the activity….
NOTE: Ask LOTS and HOTS questions...

C. Abstraction. Video Showing
Elements of Dance
If possible download:
(https://www.youtube.com/watch?v=UGuD9Geeb2k)
The human body is living in time and space, and it exhibits some effort. Thus, all
Movements occur in time, through space, and with effort. Since dance entails a lot of
Zmovements, it uses the very same elements, space, time and energy. these elements
are beneficial to anyone interested in recognizing, analyzing or creating movement.
The acronyms BASTE helps students remember the elements:
Body
Action
Space
Time
Energy
Body
The renowned dance critic Walter Terry wrote, "No paints nor brushes, marbles nor
chisels, pianos or violins are needed to make this art, for we are the stuff that dance is
made of. It is born in our body, exists in our body and dies in our body. Dance, then,
is the most personal of all the arts . . . it springs from the very breath of life." *
In dance, the body is the mobile figure or shape, felt by the dancer, seen by others.
The body is sometimes relatively still and sometimes changing as the dancer moves in
place or travels through the dance area. Dancers may emphasize specific parts of their
body in a dance phrase or use their whole body all at once
7
Action is any human movement included in the act of dancing— it can include dance
steps, facial movements, partner lifts, gestures, and even everyday movements such as
walking. Dance is made up of streams of movement and pauses, so action refers not
only to steps and sequences, but also to pauses and moments of relative stillness.
Dancers may use movements that have been choreographed or traditional dances
taught by others who know the dances. Depending on the dance style or the
choreographer's decision, dancers may also revise or embellish movement they have
learned from others.
Movement can also be improvised, meaning that the dancers make it up "on the spot"
as they spontaneously dance. Movement that travels through space is broadly called
loco motor movement in contrast to axial movement, which occurs in one spot.
Space
This is the area the performers occupy and where to move. It can be divided into four
different aspects, also known as spacial elements.
a. direction
b. size
c. level
d. focus
Timing
The movements in timing may be executed in varying tempo. Performers move with
the tempo of an underlying sound, known as beat or pulse. The timing can be varied
by moving faster or slower than the normal beat. When a sequence of a movement or
group of phrases is done in varying tempos, they generate rhythmic patterns.
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.
D. Application
Group Activities
Divide the class into 5 groups, Let them pick a simple movement of their choice such
as arm raising or bending. Explore the 5 elements of dance by doing exercise. Give
them 5 minutes to practice.
8
Rubrics
5 4 3 2
Beginning Satisfactory Proficient Excellent MA
RK
Effort  Participates only  Participates in  Participates in  Participates in
with strong dance. dance with a dance with
encouragement.  Frequent positive attitude. enthusiasm and
 Is easily reminders are  Needs to be encourages
distracted and needed to reminded to others to
finds it difficult maintain focus focus at times. participate.
to maintain on the dance.  Can stay focused  Is consistently
focus. May and follows focused and on
distract others. instruction well. task and
encourages
others to remain
focussed.
Level  Uses little of the  Uses some of the  Attempts to use  Uses all space
and space possible space provided. most of the space provided,
Space for movements.  Movement is provided. vertically as well
 Student limited to only  At times uses as horizontally.
movement two levels. varied levels  Uses all levels
experiences only within their within their
one level. movement exploration of
experience. movement.
Patterns  Pathways and  Uses one or two  Attempts various  Uses an
and patterns are not pathways and pathways in their extensive variety
Pathway apparent in the patterns in their movement. of pathways in
s dance dance.  Basic patterns their movement.
composition. are included in  Incorporates
their dance well-defined
composition. patterns in their
dance
composition.
Creativi  Uses common  Adapts some  Explores a  Explores
ty and and stereotypical options from variety of numerous
Interpre patterns others in their creative options. creative options.
tation borrowed from movement  Takes some risks  Willing to take
others.  Goes beyond the in their risks in their
 Uses familiar familiar to take a exploration. exploration.
patterns and small risk.  Movements  Movements are
movements.  Movements show unusual highly original
 Re-uses a simple repeat limited patterns and fair and carried out
pattern borrowed common patterns variety. well.
from others or and themes.  Movements
media. highlight the
music in an
interesting way.
COMMENTS: TO
TA
L
9
How you are going to optimize the energy systems for safe and improved
performance? Explain
Next meeting please read in advance about Dance Composition and Appreciation
Reflection:
E. No. of learners who continue to require remediation:
solve?
I. No. of learners achieve 80%:
10
Content Standard:
Describes the connection of health behaviors to health risk factors and
physical activity assessment performance. PEH12FH-Id-3
Quarter: First Week: 3 Day: Once a week
I. Objectives:
a. Describes the connection of health behaviors to health risk factors and
physical activity assessment performance ;
b. Perform the different body movements with clarity and fluidity
c. Value the individual differences through creative dances.
II. Content
Subject Dance Appreciation and Composition

Matter:
Integration: Edukasyon sa Pagpapakatao ( Leadership, Good relationship)
Strategies: Cooperative Learning
Materials: PE and Health II. Aparado R. Zyra Ruth .. Rex Printing Company INC
pp. 12-21
References: https://us.humankinetics.com/blogs/excerpt/exploring-dance-composition
III. Learning Tasks
Preliminaries
 Prayer
 Greetings
 Classroom Management (fix your chair, check your jogging pants and t shirt,
Lines)
 How are you today? Did you eat your lunch already?
11
A. Activity
I will show you a dance presentation and give your interpretation/ story about the dance.
https://www.youtube.com/watch?v=0s_XTYZCsSk
B. Analysis
 Have you ever tried watching dance routine without understanding what is
happening in the performance?
 Based on the video what is your interpretation about the performance?
 How dancers express their movements and technique just to convey the
audience about the performance?

Note: Provide videos of any dances if internet is not available.
C. Abstraction
Dance Appreciation and Composition
What is the difference between Recreational dances to Dance fitness?

How dance become a good dance? Explain
What make a good dance?
Dance composition is learning how to make a dance. During the dance composition
process you explore a movement idea by creating dance movement or selecting steps
in some dance genres, and then you manipulate these elements and materials of dance
into movement modules of various lengths to compose a dance.
To understand how to use your tools for composition, you need to be familiar with
choreographic design principles, structures, and devices. For a dance work to have
solidarity and value, the choreography should connect to aesthetic principles that
underlie art works.
the Movement Invention activity, you invented two contrasting dance phrases (a short
series of movements that connect into a pattern) or longer sequences. In the next
activities you will create a movement sequence (a group of movements that form a
unit), and then you will develop a movement statement (similar to a sentence). All of
these movement segments contain a beginning, middle, and an end. Coupling
movement sentences together builds a dance segment similar to a paragraph in
writing. Regardless of how long or short it is, a dance composition focuses on the
beginning, the middle, the end, and on the movement between these points. Creating
and composing the movement is one part of the choreographic process. Checking to
ensure choreographic principles underlie the dance modules requires you to analyze
your composition during the process and when it is complete.
12
Table 4.1 lists the basic choreographic principles that underlie a dance composition.
CREATIVE AND CHOREOGRAPHIC PROCESSES
The creative process in dance making requires a period of preparation in which you
collect ideas. This preparation time should include time for developing choreographic
ideas; in other words, you need to figure out the central idea and how to approach it.
Next you have to experiment with movement for a deeper insight into the movement
ideas. In later sessions, you evaluate the movement and determine what works and
what does not work as part of the dance work. The final step in the process is
elaborating on the movement ideas you have selected.
SOURCES OF MOVEMENT
Creating new dance movements comes from exploring and experimenting with
movement possibilities. Exploring new ways to move may take you out of your
comfort zone. As you mentally and physically record these experiments, keep in mind
that they may or may not turn out to be movements you want to add to your
movement memory bank. But don't let that stop you from experimenting. Although it
does involve taking movement risks, your experiments are being done in the safe
setting of a dance class.
Improvisation is creating movement or movement invention for making dances.

Using different stimuli creates new movement. Internal stimuli could include
exploring your spontaneous individual movements based on touch, auditory, or visual
sources. External stimuli could come from music, a work of art, nature, or an
everyday task.
Sources for improvisation can be visual, words, poetry, tasks, senses, or someone
else's movement or dances. These movement experiments or improvisations have
several forms:
13
Free-form improvisations are self-expression based on the premise of you moving
and responding to music. This type of improvisational study can be a movement
response to auditory, visual, textural, or a combination of stimuli.
Semi-structured movement experiments solve a problem, answer the question, or have
different points that the teacher or you determine as the criteria for composing the
work.
A structured improvisation is an experimental movement sequence that is loosely

structured and practiced. Quite often a group work, the choreographer identifies
movement sections or specific movement pictures that the group has developed
during practice. These sections or pictures give the work an overall form and an
artistic focus.
D. Application
Classroom Activities
Note: Choose your activity that suits to the ability of your learners…
Activity 1. Observing a piece of choreography
Direction:
1.Watch video (teacher provide a video) any piece of choreography and assess if the
work has sense of unity and continuity. Justify your assessment by pointing out
specific techniques employed by the choreographer in order to achieve unity and
continuity.
2.Using the same video, assess if the work contains enough variety and describe the
actions that provided variety in the choreography.
3. Connects Notice how the choreographer connects the separate sections of the
dance. Does one phrase lead appropriate into the next? Do the movement fit and bring
a sense of wholeness?
4.At what point did the choreography reach the climax?
5.Discuss your observations with a classmate. Write your observations in a journal.
Activity 2 Dance Creation

Divide the class into 5 groups. Let them create their own dance in any genre. Give
them 15 minutes to practice.
14
Rubrics
Excellent Very Satisfactory Needs Total
Level Good Improvement
4 2
3
5
Interpretation/
Transition
Dance
elements
Enthusiasm
Generalization:
Kindly share it to me your experiences during practice?
How are able to handle problems with your group mates?
Next meeting please read in advance about dance as arts
Reflection:
solve?
15
Content Standard:
Differentiates the types of eating ( fueling for performance, emotional
eating , social eating, eating while watching TV or dance events)
PEH12FH-Ie-4
I. Objectives:
a. Differentiates the types of eating ( fueling for performance, emotional
eating , social eating, eating while watching TV or dance events),
b. Execute the skills involved in the dance in Bukidnon,
c. Appreciate the beautiful cultures of seven tribes of Bukidnon.
II. Content
Subject Ethnic Dance ( Bukidnon Dances)

Matter:
Integration: Edukasyon sa Pagpapakatao
References: http://www.bukidnon.gov.ph/home/index.php/about-bukidnon/history-arts-and-
culture/ethnic-dances
III. Learning Tasks
Preliminaries
 Prayer
 Greetings
16
A. Activity
Before I’m going to start our class I will divide you first in to 5 groups. In my monitor
you’re going to list down the 7 tribes and its classification.
Tribe Classification
B. Analysis
 What are the distinctive characteristics, colors, and physical features of

different tribes of Bukidnon?
 What are the patterns of their costumes?
 Why the 7 tribes of bukidnon is unique from other tribes found in the different
islands of the Philippines? Elaborate your answers
C. Abstraction
Kaamulan Festival is an ethnic cultural festival held annually in Malaybalay City,

Bukidnon in the Philippines from the second half of February to March 10, the
anniversary date of the foundation of Bukidnon as a province in 1917. It is held to
celebrate the culture and tradition of the seven ethnic tribal groups—Bukidnon,
Higaonon, Talaandig, Manobo, Matigsalug, Tigwahanon and Umayamnon—that
originally inhabit the province.[1][2] It is the only authentic ethnic festival in the
Philippines.
Kaamulan comes from the Binukid word “amul” meaning to gather.[4] Kaamulan
is gathering for a purpose—a datuship ritual, a wedding ceremony, a thanksgiving
festival during harvest time, a peace pact, or all of these together.
Tribe Classification
Talaandig People from Talakag who choose to call themselves as such when Panamin took
custody of them since September 18, 1975. the women of this tribe are expert
embroiderers and patchwork makers. They are semi-sedentary.
Manobo These people are natives of the municipalities

of Pangantucan, Kalilangan and Kadingilan. Manobo in Kadingilan is mixed
with muslim blood. These speak a quaint archaic language of their own which
cannot be understood by the lowland Bukidnon and other ethnic groups in the
17
province. Others lived in the municipalities of Don
Carlos, Kitaotao, Kibawe, Quezon and Damulog.
Umayamnon Highly nomadic Bukidnon Manobo with fine skills in beadwork and brass jewelry.
These people live along the watershed of Umayam River. They are reserved
and quiet, fair skinned with prominent checkbones and wear beaded turban
without hair.
Matigsalug People of Salug River specifically in Kalangangan, San Fernando, Bukidnon and
some in Simod.
Tigwahonon People along the watershed of Tigwa River and in the Tigwa-salug Valley. They
are loud spoken people and the traders among the hinterland ethnic groups
Higaonon Are situated in the provinces of Agusan del Sur, Misamis Oriental and Bukidnon.
Planting of Rice, corn and vegetables are their means of living.
Bukidnon The lowlanders. Acculturated Bukidnons who have adapted Christian ways and
utilized modern technology living in the lowlands among Christians.
Ethnic Dances
Category: History, Arts and Culture
Binanog
A typical Dance of the Talaandig tribe mimicking the movement of the bird up in the air
called "Bano>
Inagong
A dance for entertainment performed during festivals and gatherings.
Saut
A dance of male Talaanding tribe presenting their expertise in style and arts in fighting their
opponents or enemies with their ritual dances for offering to their magbabaya (GOD).
Tinambol
A dance performed by male and female Talaandig for entertainment and sometimes in their
ritual dances for offering to their Magbabaya.
Talupak
A dance depicting the way and style in planting, harvesting and winnowing palays. This is
perform for public entertainment.
Dugso
Ritual dance performed by women during religious celebration, kaligaon.
Binaylan
The dance of the Baylan or Priest during a hinaklaran ritual.
Pinagkabula
A dance perfomance solo.
Pinegket
A dance imitating one who is suffering from legs cramp.
Binalanak
Social dance
18
Pi-agawan
A courtship dance performed by two men and a woman, with one man winning the maiden
love.
Pagadugsa
A dance mimicking the hunters adventure.
Tinagpi
A dance mimicking the farming activities.
Manak-anam
A dance mimicking the mother as she takes care of the baby looks for food and washes in the
river.
Kayametan
A dance mimicking a forest bird locally called Tungkago resembling a horn bill, with the
dancer holding her forefingers to the side of her nose.
Mangmangayaw
A dance performed by men, originally out to hunt their enemies.
Bubudsil
A dance using a wooden pole simulating the pounding of rice harvest.
D. Application
Activity 1.
Divide the class into 5 groups; let the students perform the different dance
steps given below. After they master the steps let them create a dance with storyline
using the dance steps.
1. Binanog
2. Binakbak
3. Dugso
4. Pig agawan
5. Inagong
6. Talupak
Note: Teacher should facilitate if the students execute it correctly.

Why balance diet is essential to all dance performers?
Does eating of right food affects the performance of the dancers?
Rubrics
Excellent Very Satisfactory Needs Total
Level Good Improvement
3
5 4 2
Interpretation/
Transition
19
Dance
elements
Enthusiasm
Next meeting please read in advance about Philippine Folkdance
Reflection:
solve?
20
Content Standard:
Explain the role of PAs in managing ones stress. PEH12FH-If-5
I. Objectives:
a. Explain the role of PAs in managing ones stress,
b. Execute and interpret correctly the dance steps based on the literature of
Sakuting ,
c.Appreciate the beauty of our own Philippine Folkdances not only for
. performance but also as a form of fitness.
II. Content
Subject Matter: Phillipine Folk Dance Sakuting

Integration: English (Reading and Comprehension , Values Education ( Leadership)
Tolentino, Francisca Reyes, Philippine National Dances Manila: Silver
Burdett Company, 1946
References: https://www..ehow.com/about.6464307_history-sakuting-dance-stick.html
III. Learning Task/Procedure
A. Preliminaries
 Prayer
 Greetings
 Classroom Management ( fix your chair, check your jogging pants and
shirt)
 Checking the Attendance
21
B. Activity
1. Show Different pictures of Philippine Folk dance; let the students describe the
costumes of every dance. Ask them about their feelings and understanding about
folkdances.
2. Show a video about “sakuting” [youtube
http://www.youtube.com/watch?v=mtQBUQ2a4P0&w=420&h=315
C. Analysis
Differentiate the regional, national dances and ethnic dances found from the video.
After our activities how are you going to promote our own culture?
Why culture preservation is very essential? As a student, what is your great
contribution to preserve our own culture?
D. Abstraction
Description
The sakuting dance, originally performed solely by boys, portrays a mock fight using
sticks. A sakuting stick is striped or bamboo and is about 1½ feet long and tapered at
the end, like a candle. Its original use was for combat training. During the playful folk
dance, two teams, one representing each side, circle and clash bamboo sticks in a
gentle imitation of martial arts sparring. Its dance form is the comedia (a theatrical
dance, also called moro-moro) and features a battalla (choreographed skirmish).
History
Sakuting (pronounced seh-KOOH-tihng) comes from the province of Abra, home to
the Ilocano people native to the lowlands and the Tingguian mountain tribes. The
Spanish established a garrison to protect Ilocanos who converted to Christianity, and
their capital city, Bangued, from raids by the mountain tribes. Introduced by Spanish
missionaries as religious ritual, the sakuting dance portrays this struggle between the
lowland Christians and the non-Christian mountain people. Sakuting’s origins,
however, appear much older.
Origin
Arnis, the traditional Filipino art of stick fighting, employed readily available
weapons by simple people seeking self-protection. The occupying Spanish banned the
practice of Arnis, forcing it into secret. Filipinos found ways to openly retain the
practice by making the Arnis movements part of folk dances. Sakuting is actually a
two-stick Arnis exercise set to music.
The Music
The traditional music styles for sakuting portray the dual influences of China and
Spain. Its staccato inflections and rhythmic tapping suggest a strong Chinese
influence. The music itself is played by a rondalla, a native string ensemble of
plectrum (plucked with tortoiseshell fingerpicks) instruments influenced by Spanish
stringed instruments, that includes bandurria, laud, octavina, mandola, guitarra and
bajo de uñas, or double bass.
The Dance
Dancers use one and two sticks throughout the performance to tap the floor and each
other’s sticks. Dance steps are a combination of marching and small forward or
sideways shuffle steps while circling and interchanging positions with other dancers.
Some modern interpretations are more athletically demonstrative of the martial arts,
22
while others add ballet movements. Dancers twirl the sticks, hitting them against
opponents’ sticks, displaying a mock fight.
Performances
The Ilocano people customarily perform the sakuting dance as part of Christmas
celebrations. Performed at the town plaza or from house to house, the dance allows
the opportunity for spectators to give the dancers aguinaldos—gifts of money, drinks,
fruits and refreshments prepared especially for Christmas much like the English
custom of caroling.
Description
The sakuting dance, originally performed solely by boys, portrays a mock fight using
sticks. A sakuting stick is striped or bamboo and is about 1½ feet long and tapered at
the end, like a candle. Its original use was for combat training. During the playful folk
dance, two teams, one representing each side, circle and clash bamboo sticks in a
gentle imitation of martial arts sparring. Its dance form is the comedia (a theatrical
dance, also called moro-moro) and features a battalla (choreographed skirmish).
History
Sakuting (pronounced seh-KOOH-tihng) comes from the province of Abra, home to
the Ilocano people native to the lowlands and the Tingguian mountain tribes. The
Spanish established a garrison to protect Ilocanos who converted to Christianity, and
their capital city, Bangued, from raids by the mountain tribes. Introduced by Spanish
missionaries as religious ritual, the sakuting dance portrays this struggle between the
lowland Christians and the non-Christian mountain people. Sakuting’s origins,
however, appear much older.
Origin
Arnis, the traditional Filipino art of stick fighting, employed readily available
weapons by simple people seeking self-protection. The occupying Spanish banned the
practice of Arnis, forcing it into secret. Filipinos found ways to openly retain the
practice by making the Arnis movements part of folk dances. Sakuting is actually a
two-stick Arnis exercise set to music.
The Music
The traditional music styles for sakuting portray the dual influences of China and
Spain. Its staccato inflections and rhythmic tapping suggest a strong Chinese
influence. The music itself is played by a rondalla, a native string ensemble of
plectrum (plucked with tortoiseshell fingerpicks) instruments influenced by Spanish
stringed instruments, that includes bandurria, laud, octavina, mandola, guitarra and
bajo de uñas, or double bass.
The Dance
Dancers use one and two sticks throughout the performance to tap the floor and each
other’s sticks. Dance steps are a combination of marching and small forward or
sideways shuffle steps while circling and interchanging positions with other dancers.
Some modern interpretations are more athletically demonstrative of the martial arts,
while others add ballet movements. Dancers twirl the sticks, hitting them against
opponents’ sticks, displaying a mock fight.
Performances
The Ilocano people customarily perform the sakuting dance as part of Christmas
celebrations. Performed at the town plaza or from house to house, the dance allows
the opportunity for spectators to give the dancers aguinaldos—gifts of money, drinks,
fruits and refreshments prepared especially for Christmas much like the English
custom of caroling.
23
Here’s a video:
[youtube http://www.youtube.com/watch?v=mtQBUQ2a4P0&w=420&h=315]
Source : http://www.ehow.com/about_6464307_history-sakuting-dance-stick.html
Dance Literature
24
25
26
27
E. Application:
Activity 1.
Groupings: Divide the class into 5 groups. Let them choose their leader. Tell them to
interpret the Figures assigned to them. After they done the leader will transfer to
others group to teach the Figures assigned to them, it’s a rotation.
Croup 1. Entrance and Figure I

Group 2. Figures II and III
Group 3. Figures IV and V
Group 4. Figures VI and VII
Group 5. Figures VIII and IX
Teacher will supervise and check if the students execute the steps properly.
Note: Teachers can teach any Folkdances available.
Generalization: Why physical activities help to manages stress?

How dance help to develop the social aspect of an individual?
IV. Assessments/Evaluation
Rubrics
Criteria Outstanding Very Satisfactory Needs Total

Satisfactory Improvement
5 4 3 2
Execution
Mastery
Performance
Behavior/Teamwork
Note: If possible let the students crafting their rubrics.
Next meeting please read in advance about dance sports
Reflection:
28
solve?
29
Content Standard:
Self-assess health-related fitness. PEH12FH-Ig-6
I. Objectives:
a. Self-assess health-related fitness,
b. Interpret the dance steps correctly based on the literature of
Sakuting ,
c. Appreciate the beauty of our own Philippine Folkdances not only for
entertainment but also as a form of physical fitness.
II. Content
Subject Matter: Phillipine Folk Dance Sakuting (Continuation - Interpretation)

III.Learning Task/Procedure
Preliminaries
 Prayer
 Greetings
shirt)
 Review of previous lesson
30
A. Activity
Let Review our last lesson
Who among you here can recall our previous lesson (students vary their answers)
B. Analysis
Give instruction to the students what to do.

C. Abstraction
D. Application:
Call group leaders to have a draw lots for performers sequence. Teacher will read
again the rubrics for questions and clarification.
Rubrics

5 4 3 2
Execution
Mastery
Performance
Behavior/Teamwork
Congratulations for an excellent performance

Reflection:
solve?
31
Content Standard:
Self-assess health-related fitness. PEH12FH-Ig-6
I. Objectives:
a. Self-assess health-related fitness,
b. Execute and interpret correctly the dance steps based on the literature of
Sakuting ,
c. Appreciate the beauty of our own Philippine Folkdances not only for
performance but also as a form of fitness.
II. Content
Subject Matter: Phillipine Folk Dance Sakuting (Practical )

Preliminaries
 Prayer
 Greetings
shirt)
 Review of previous less
A. Activity
32
B. Analysis

C. Abstraction
D. Application:
II. Assessments/Evaluation
Rubrics

5 4 3 2
Execution
Mastery
Performance
Behavior/Teamwork
III. Assignment/Enrichment

Reflection:
solve?
33
Content Standard:
Set FITT goals based on training principles to achieve and/or maintain
HRF. PEH12FH-Ii-j-7
I. Objectives:
a. Set FITT goals based on training principles to achieve and/or maintain HRF,
b. Demonstrate the basic steps of ChaChaCha appropriately,
c. Appreciate ChaChaCha and enhance self-confidence and socialization
through performing the basic steps of the dance with music accompaniment
and moving expressively to a variety of sounds and music.
II. Content:
Subject Matter: Ballroom Dance: Competitive Ballroom Dance: Chachacha

Integration: (What specific skill in particular learning area?)
English: Comprehensive and Interpretation Skills
ESP: Values (Sportsmanship, determination, Socialization, flexibly adaptive,
and Friendly and kind)
Strategies: Demonstration, Lecture/Discussion, Peer Learning and Cooperative
Learning
Materials: DLP for Slideshow Presentation, Speaker, Laptop
References:
Manalo, A. (2012).Essential of Physical Education 1 and 2.MINDSHAPERS

CO., Inc.pp 177-187
34
Powers, R. (n.d.). Ballroom Dance. Retrieved March 6, 2019, from
https://socialdance.stanford.edu/syllabi/ballroom.html
Heritage Institute. (2007). Introduction To Ballroom Dancing. Retrieved

March 6, 2019, from
https://www.heritageinstitute.com/danceinfo/descriptions/ballroom.
htm
Stratyner, B. (2019). Ballroom dance | Britannica.com. Retrieved March 6,
2019, from https://www.britannica.com/art/ballroom-dance
III. Learning Tasks/Procedure:
A. Before the Lesson
1. Preliminaries
a. Classroom Management (Greetings, Prayer, Roll Call)
b. Review of Previous Lesson (1min)
Last meeting, we have discussed the definition of ballroom dance, its

two kinds discussed some examples of the different dances. Now, can anyone
in the class define ballroom dance? Yes, Quimm.
(Possible answers of students: Ballroom dancing is a partnership

dance where couples, using step-patterns, move rhythmically, expressing
the characteristics of music. Ballroom dancing consists of two styles: the
Smooth, or Standard, and the Rhythm, or Latin.)
Very good! Now, can anyone mention the kinds of ballroom dance and
define each? Yes, Bob.
(Possible answers of students: The two kinds of ballroom dance are

Recreational and Competitive Dance. Recreational ballroom dance is dancing with
your partners to interact with you spontaneously, for fun, doing steps that are also
enjoyable for the pair. On the other hand, competitive ballroom dance is a style
of dance in which dance competition is the main focus. Couples perform several
different dances in front of judges who evaluate and score each routine. In a
competitive dancing, Self-confidence, impressing others, the satisfaction of becoming
proficient in a dance form is the focal point just like Chachacha, Rumba and Jive. )
35
Exactly! I am glad that you still remember our topic last meeting.
B. During the Lesson
1. Motivation (3 minutes)
Now, since we are already done discussing the different kinds of competitive
ballroom dances, last meeting together with their origins, today, we are going to
explore the world of a Competitive Dance specifically Chachacha.
Now, I will request everyone to stand and form one circle, drop your hands
and take a step backward to avoid bumping.
Let us warm our bodies first before we proceed to our activity for the day.
I’m going to play a dance music and what you are going to do is to follow my
movements.
(Teacher models the warm-up activity and plays music.)
Now that we are warmed-up, I guess we are now ready to proceed to our
activity for the day.
2. Lesson Proper
Presentation/Introduction of Topic (1 minute)

Chachacha
Chachacha originated in Cuba. Enrique Jorrin, a Cuban Violinist created the first cha
cha song in 1948. He named it after the shuffling sound the dancers shoes made when they
dance to this type of music.
The Cha Cha dance is performed in 4/4 time and requires a lot of step and hip motion.
The dance is characterized by three quick steps followed by two slower beats done on the one
beat and the two beat. The dance is performed at about 120 beats every minute. The front
steps are taken toe flat, and the dance is performed with minimal upper torso movement. The
Cha Cha dance is characterized by intricate foot movement, quick spins, strong hip
36
movement, sharp action and staccato, all this done to Latin American Cha Cha music. The
Cha-Cha-Cha is a lively, playful and groovy social dance.
Activity 1.1
(The teacher will demonstrate each basic step of dance before letting the class follow the
steps.)
Chachacha Basic step
The basic step is done to the rhythm 'one, two, three-and, four', or counted in cha-cha
classes as 'one, two, cha-cha-cha'. What this translates to are two slow steps (one and two),
two quick steps (cha-cha) and a slow step (cha) on the fourth beat. The steps taken for the
man (or lead) are as follows, and the follower's steps are the mirror opposite:
Beat one: Step forward/left on your left foot
Beat two: Bring your right foot to join your left one
Beats three-and: Step quickly on your left, and then right,

foot
Beat Four: Take a slow step on your left foot
Alemana Turn/ Hockey Stick
The Alemana is a type of Underarm Turn to Right, typically commenced in Fan

position. In contrast to the tandem and linear direction of the more basic underarm turn, the
lady's directions taken on the Alemana are more circular and broad, finishing with a forward
lock step directly toward (and in some cases, slightly past) the man. Some describe the
distinctive shape of the pattern of her footfalls as a "triangle".
37
Step Timing Movement Turn Notes
1 2 Close RF to LF No L arm wrap in front of tummy, finish the
turn arm action and don't cut it short.
2 3 LF fwd --
3 41 RF fwd 1/8 to L arm out to side.
R
45 2341 Three Fwd walks 1 1/8 to On previous 1&: turn to R
6 under raised arm LF R over Lady steps in an equilateral triangle.
RF LF. End in 4 to 6 "2&": LF step fwd to Man's L side,
Closed Position diagonally. On "&", swivel on LF, RF
brush (draw cresecent moon) and point out
(away from Man, no weight yet) to 2nd
point in the triangle (middle in front of
man)
"3&": step on RF, on "&" turn to R again to
face Man
"4": fwd step.
Cross Over Rocks/ New Yorker

1 2 RF fwd in LSP 1/8 to This is New York to the Left Side
L Position (Lady on Man's Left).
End of preceding step on '&', after fully
transferred weight, turn 1/8 to L. Feet turned out.
When turning, L hand/arm is "connected" with
upper frame, don't use shoulder joint as turning
point for arm. Whole body as a unit.
"2": RF fwd, feet turned out, 50-50% weight split
(whenever followed by a check step, it's always
split weight.)
"&": check step to change direction.
(Or, a different option: quick check action all
happens on "2")
hips turn 1/8 extra than feet, frame (upper body)
turn as much as possible to L (isolated from hip)
Arm should be on same plane as body. During the
turn, arm line slowly going up, ideally ending
38
with L hand behind head, arm 45 degrees up.
Lady: break at wrist (think of showing off your
ring), circle one round, ending downward. Hand
at eye level.
2 3 Transfer weight "3&", on "&", frame starts turning to face partner.
to LF Make sure RF doesn't do rondes. Use the
technique for back walk. See Rumba New York.
34 4&1 RF to side to 3/8 to
5 chasse RLR, R
End in Open PP over
3-5
1 2 LF fwd in RSP 1/8 to Continuing to New York to the Right Side
R Position.
2 3 Transfer weight
to RF
34 4&1 LF to side, 3/8 to Take required hold
5 chasse LRL. L over
End in Open 3-5
CPP
Spot Turns
Spot Turns can be danced in a variety of ways: Man and lady turning at the same
time, man turning lady underarm, or one partner turning while the other dances a Time Step,
just to name a few. But as a figure, Spot Turns are generally danced by both man and lady at
the same time. The Spot Turn in this context is danced completely solo by both man and lady,
so it will be necessary to release both connected hands. However, one hand connection
should remain until the turn has been led. It is recommended that you use the hand that is
closer to the direction of turn for this purpose.

1 2 RF fwd (after turning 1/4 to L on 1/4 to L, This is Switch Turn to
preceding "&") in line with LF step RF, Left.
Then turn 1/2 to end with RF in then 1/2 The turn is started at the
the back on "&" to L end of preceding figure.
2 3 Transfer weight to LF "3&", on "&": turn 1/4 to

L
39
345 4&1 RF to side to chasse RLR 1/4 to L At end of "1": turn to R.
over 3-5
6 2 LF fwd (after 1/4 to R) in line 1/4 to R, This is Switch Turn to
with RF, step LF, Right.
then turn 1/2 to end with LF in the then 1/2 The turn is started at the
back to R end of preceding figure.
7 3 Transfer weight to RF on "&", turn 1/4 to R
89 4&1 LF to side to chasse LRL 1/4 to R
10 over 3-5
Shoulder to shoulder

1 2 RF back Nil Body has no turns, frame is facing
partner. Only lower body turns to step
Outside Partner.
This is Left Side Shoulder to

Shoulder.
When Man is doing Shoulder to
Shoulder, Lady's steps are actually time
step.
2 3 Transfer weight to LF Twist R side to push LF forward. Then,
towards Man's side pendulum action.
3 41 RF to side, ending RF 1/4 to L Twist, pendulum.
side and slightly back over 3-5
4 2 LF back Nil This is Right Side Shoulder to
Shoulder.
Foot position is in CBMP. Also called

Latin Cross.
When foot is stepped cross the line, it's
strong CBMP.
CBM: take shoulder of free leg to
40
standing leg.
Hip laterally to right
5 3 Transfer weight to RF Twist LF side, and pendulum.
towards Man's R side
6 41 LF to side, ending LF 1/4 to R
side and slightly back over 8-10
Hand to hand

1 2 RF back in 1/4 to This is Hand to Hand to Right Side Position.
RSP (after 1/4 R The 1/4 turn happens at the end of preceding step
to R) "&".
Preceding "&": shift weight completely, lower the
hand (change of body design), Bound rotation.
Use the pressure on RF. Use Forward Walk Turn
action to turn R. (There is pressure in ball of back
foot RF, create turning action.)
Weight fully committed on back feet. No check
step when it's changing from backward movement
to forward
Keep arm at shoulder level.
2 3 Transfer "&" turn 1/4 to L
weight to LF
3 4 1 RF to side 1/4 to (Hand-to-Hand to RSP could end in Open PP.)
(after 1/4 to L) L over The end "&": cork crew rotation to L.
3-5 Variation: end of count "3" do not turn and do 1/2
turn at end of count "1", sharper.
4 2 LF back in 1/4 to This is Hand to Hand to Left Side Position.
LSP L Important to release foot ahead of spine.
5 3 Transfer
weight to RF
6 41 LF to side 1/4 to Hand-to-Hand to LSP could end in Open CPP.
41
R over
3-5
Cuban Breaks

1 2 RF fwd and across, toe 1/8 to L May be danced without turn.
turned out. Small step. Check action.
Keep both hands in center during
the figure.
2 & Replace weight to LF Ball of foot.
3 3 RF to side 1/8 to R
4 & Replace weight to LF -- Ball of foot. R knee slightly bent
before placing weight on it again.
56 4&1 Repeat 1-3 Same as Step 6: Ball of foot.
7 step 1-3

1 2 RF to side -- Side Step to Left Commenced with LF
When preceding figure ends with feet apart,
brush RF to LF towards end of preceding count
"1".
2 3 Close LF to RF --
34 4&1 RF to side to chasse --
5 RLR
1 2 Close LF to RF -- Side Step to Left Commenced with RF
2 3 RF to side --
3 4 Move LF towards --
RF (or close)
4 & RF to side --
5 1 Move LF towards --
RF (or close)
42
Side step
C. After the Lesson
Activity 2
The teacher will group the students into five groups and let the students
practice the basic steps of the dance while guiding the students. The teacher will
allow the students to be creative in creating their routine as long as the basic steps
are properly executed. The teacher will let the students perform in group after 15
minutes.
(Before starting the evaluation, the teacher will talk over about the
organization of an event in BALLROOM DANCE COMPETITION as one their final
requirements for the subject to prepare the students ahead of time)
Generalization:
In what part of the activity we apply the health-related fitness?
D. Evaluation
The teacher will assess the performance of the students with the use of the
following criteria:
Key Criteria Developing 5 Capable Proficient

Elements (PLO)
4 2
Creating Move [student] is [Student] is [student]
Dance expressively in learning/beginning/developing the able to… shows
response to a ability mastery
variety of
 to move expressively in
sounds and
music response to a variety of sounds,
music and combinations of
Create movements
movement
sequences  to express actions, ideas,
based on events, or feelings elicited by a
patterns. variety of live or recorded
music, patterns (e.g.,
alternating movements and
shapes) use lead-and-follow
strategies such as shadowing,
to develop a movement
43
sequence with peers
 repeat and vary movements to
create sequences
 responding to music for
creating a dance sequence
Elements of move safely in [student] is [Student] is [student]
Dance both personal learning/beginning/developing the capable shows
space and ability when when proficiency
general space when
during dance
activities  participating in movement
involving group demonstrating
control, coordination,
move using a appropriate spacing and
variety of distance from other students at
levels, different speeds, directions and
pathways, along pathways.
dynamics, and
directions  varying movements (locomotor
and non-locomotor) in response
to differences in rhythmic
pattern, metre and tempo
move in time
to a variety of  following teacher modelling,
rhythms, demonstrate repeated and
metres, and varied movements with a
tempi beginning, middle, and end
Context [student] is [student] [Student] is
learning/beginning/developing the shows outstanding
describe a
ability competence when
variety of
when
reasons people  with reference to particular
dance contemporary or historical
examples of dances learned or
viewed, identify a variety of
reasons for dance, including: to
meet and socialize, to represent
cultural identity
Presenting [student] is Student is Student is
and learning/beginning/developing the enthusiastic excellent
willingness to
Performing ability to when… when…
rehearse and
perform dance  demonstrate willingness to
participate actively in
performance
44
skills rehearsals
and performances
 demonstrate performance skills
appropriate to the setting (e.g.,
paying attention, projecting the
emotion of the dance
E. Wrap-up activity
The teacher will ask the students the following questions regarding the activity
and share the students’ answers to the class;
1. What did you discover in yourself in terms of self-confidence?

2. What did you learn in terms of socialization?
3. Did you enjoy the activity? Why or why not?
IV. Remarks:
[ ] Lesson is successfully conducted within the time frame allotted for the lesson.
[ ] Objectives are not met; I need to reteach the topic.
[ ] Insufficient time for the lesson due to the following factors:

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
[ ] Transfer of lessons to the following day as a result of class suspension.

Reason for class suspension:
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
[ ] Other remarks, please specify
A. No. of learners achieve 80%: _____

B. No. of learners who require additional activities for remediation: _____
C. Did the remedial lessons work? _____
45
D. No. of learners who have caught up the lesson: _____
E. No. of learners who continue to require remediation: _____
F. Which of my teaching strategies worked well? Why did these work? _____
solve? _____
H. What innovation or localized materials did I use/discover which I wish to
share with other teachers? _____
V. Reflection:
A. Parts of the lesson that went well:

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
B. Parts of the lesson that were weak:

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
C. Thoughts and feelings about the lesson (including things that were successfully
implemented, needs improvement, or could be adjusted in the future):
__________________________________________________________________
__________________________________________________________________
46
Content Standard:
Engages in moderate to vigorous physical activities (MVPAs) for at least 60
minutes most day of the week in a variety of setting in-and out of school.
PEH12FH-Ia-t-8
I. Objectives:
a. Engages in moderate to vigorous physical activities (MVPAs) for at least 60
minutes most day of the week in a variety of setting in-and out of school,
c. Appreciate ChaChaCha and enhance self-confidence and socialization
through performing the basic steps of the dance with music accompaniment
and moving expressively to a variety of sounds and music.
II. Content
Subject Matter: Ballroom Dance: ( Chachacha Practical)

Integration: (What specific skill in particular learning area?)
English: Comprehensive and Interpretation Skills
ESP: Values (Sportsmanship, determination, Socialization, flexibly adaptive,
and Friendly and kind)
Strategies: Demonstration, Lecture/Discussion, Peer Learning and Cooperative
Learning
Materials: DLP for Slideshow Presentation, Speaker, Laptop
References:
Manalo, A. (2012).Essential of Physical Education 1 and 2.MINDSHAPERS

CO., Inc.pp 177-187
47
Powers, R. (n.d.). Ballroom Dance. Retrieved March 6, 2019, from
https://socialdance.stanford.edu/syllabi/ballroom.html
Heritage Institute. (2007). Introduction To Ballroom Dancing. Retrieved

March 6, 2019, from
https://www.heritageinstitute.com/danceinfo/descriptions/ballroom.
htm
Stratyner, B. (2019). Ballroom dance | Britannica.com. Retrieved March 6,
2019, from https://www.britannica.com/art/ballroom-dance
Preliminaries
 Prayer
 Greetings
shirt)
 Review of previous lesson
A. Activity
B. Analysis

C. Abstraction
Always remember before you’re going to undergo strenuous activities or any sports
don’t forget to warm-up and call down
Why important to warm-up our body before doing a strenuous activity?
D. Application:
48
Rubrics
The teacher will assess the performance of the students with the use of the
following criteria:
Key Criteria Developing 5 Capable Proficient

Elements (PLO)
4 2
Creating Move [student] is [Student] is [student]
Dance expressively in learning/beginning/developing the able to… shows
response to a ability mastery
variety of
 to move expressively in
sounds and
music response to a variety of sounds,
music and combinations of
Create movements
movement
sequences  to express actions, ideas,
based on events, or feelings elicited by a
patterns. variety of live or recorded
music, patterns (e.g.,
alternating movements and
shapes) use lead-and-follow
strategies such as shadowing,
to develop a movement
sequence with peers
 repeat and vary movements to
create sequences
 responding to music for
creating a dance sequence
Elements of move safely in [student] is [Student] is [student]
Dance both personal learning/beginning/developing the capable shows
space and ability when when proficiency
general space when
during dance
activities  participating in movement
involving group demonstrating
control, coordination,
move using a appropriate spacing and
variety of distance from other students at
levels, different speeds, directions and
pathways, along pathways.
dynamics, and
 varying movements (locomotor
49
directions and non-locomotor) in response
to differences in rhythmic
pattern, metre and tempo
move in time
 following teacher modelling,
to a variety of
demonstrate repeated and
rhythms,
varied movements with a
metres, and
beginning, middle, and end
tempi
Context [student] is [student] [Student] is
learning/beginning/developing the shows outstanding
describe a
ability competence when
variety of
when
reasons people  with reference to particular
dance contemporary or historical
examples of dances learned or
viewed, identify a variety of
reasons for dance, including: to
meet and socialize, to represent
cultural identity
Presenting [student] is Student is Student is
and learning/beginning/developing the enthusiastic excellent
willingness to
Performing ability to when… when…
rehearse and
perform dance  demonstrate willingness to
participate actively in
performance
rehearsals
skills
and performances
 demonstrate performance skills
appropriate to the setting (e.g.,
paying attention, projecting the
emotion of the dance
50
Reflection:
solve?
51
Content Standard:
Analyzes physiological indicators such as heart rate, rate of perceived
exertion and pacing associated with MVPAs to monitor and/or adjust
participation or effort. PEH12Fh-Ik-t-9
I. Objectives:
a. Analyzes physiological indicators such as heart rate, rate of perceived exertion
and pacing associated with MVPAs to monitor and/or adjust participation or
effort
b. Identify the benefits of dance to the learners,
II. Content
Subject Matter: Contemporary Dance

Integration: Science: Body Movements
Company INC
https://www.thoughtco.com/what-is-contemporary-dance-
1007423
III.Learning Tasks
Preliminaries
 Prayer
 Greetings
52
A. Activity
The class will be divided into 5 groups and given picture. The pictures highlight
different exercises (both aerobic and muscle-bone strengthening activities). They are then ask
to post the picture in the board which they think those pictures belong whether it is an aerobic
or muscle and bone strengthening activities.
B. Analysis
The teacher will ask the following questions to connect the topic.
1. How did you find the activity?
2. Have you seen differences in the pictures? If yes, what are those? Enumerate.
Show them a video of contemporary………

C. Abstraction
Contemporary dance is a style of expressive dance that combines elements of several

dance genres including modern, jazz, lyrical and classical ballet. Contemporary
dancers strive to connect the mind and the body through fluid dance movements. The
term "contemporary" is somewhat misleading: it describes a genre that developed
during the mid-20th century and is still very popular today.
Introduce the basic dance steps of contemporary.
Modern and contemporary dance have many elements in common; they are, in a
way, branches stemming from the same roots. During the 19th century, theatrical
dance performances were synonymous with ballet. Ballet is a formal technique that
developed from court dance during the Italian Renaissance and became popular as a
result of the support of Catherine de' Medici.
Around the end of the 19th century, several dancers began to break the ballet mold.
Some of these individuals included Francois Delsarte, Loïe Fuller, and Isadora
Duncan, all of whom developed unique styles of movement based on theories of their
own. All focused less on formal techniques, and more on emotional and physical
expression.
Today's Contemporary Dance
Today's contemporary dance is an eclectic mix of styles, with choreographers drawing
from ballet, modern, and "post-modern" (structure less) forms of dance. While some
contemporary dancers create characters, theatrical events, or stories, others perform
entirely new creations as they improvise in their own unique style.
D. Application
Classroom Activities:
Group the class into 5 groups give them time to create a dance piece and instruct
them to choreograph their piece.
How many glass of water to drink every day?
53
What happened to a dancer who lacks of waters to his/her body?
Reminders: Drink plenty of water to avoid dehydrations
Let the students present their outputs
Rubrics..
5 4 3 2
Beginning Satisfactory Proficient Excellent MAR
K
encouragement.  Frequent reminders positive attitude. enthusiasm and
 Is easily distracted are needed to  Needs to be encourages others to
and finds it difficult maintain focus on reminded to focus at participate.
to maintain focus. the dance. times.  Is consistently
May distract others.  Can stay focused focused and on task
and follows and encourages
instruction well. others to remain
focussed.
Level and  Uses little of the  Uses some of the  Attempts to use  Uses all space
Space space possible for space provided. most of the space provided, vertically
movements.  Movement is provided. as well as
 Student movement limited to only two  At times uses varied horizontally.
experiences only levels. levels within their  Uses all levels
one level. movement within their
experience. exploration of
movement.
Patterns  Pathways and  Uses one or two  Attempts various  Uses an extensive
and patterns are not pathways and pathways in their variety of pathways
Pathways apparent in the patterns in their movement. in their movement.
dance composition. dance.  Basic patterns are  Incorporates well-
included in their defined patterns in
dance composition. their dance
composition.
Creativity  Uses common and  Adapts some  Explores a variety  Explores numerous
and stereotypical options from others of creative options. creative options.
Interpretat patterns borrowed in their movement  Takes some risks in  Willing to take risks
ion from others.  Goes beyond the their exploration. in their exploration.
 Uses familiar familiar to take a  Movements show  Movements are
patterns and small risk. unusual patterns and highly original and
movements.  Movements repeat fair variety. carried out well.
 Re-uses a simple limited common  Movements
pattern borrowed patterns and themes. highlight the music
from others or in an interesting
media. way.
TOT
COMMENTS: AL
54
Generalization:
What do you think athletes excel in their field?
What’s the secret of winning?
Reflection:
solve?
55
Content Standard:
Observes personal safety protocol to avoid dehydration, overexertion,
hypo-and hyperthermia during MVPA participation.PEH12FH-Ik-t-10
I. Objectives:
a. Observes personal safety protocol to avoid dehydration, overexertion,
hypo-and hyperthermia during MVPA participation
b. Identify the benefits of dance to the learners,
III. Content
Subject Matter: Contemporary Dance (Practical)

Company INC
https://www.thoughtco.com/what-is-contemporary-dance-
1007423
III.Learning Tasks
Preliminaries
 Prayer
 Greetings

56
A. Activity
Gather the Learners and ask them to create their dance piece
B. Analysis
Remind them to use only basic dance not all are flexible.
C. Abstraction
D. Application
How many glass of water to drink every day?

What happened to a dancer who lacks of waters to his/her body?
Reminders: Drink plenty of water to avoid dehydrations
Rubrics..
5 4 3 2
Beginning Satisfactory Proficient Excellent MAR
K
encouragement.  Frequent reminders positive attitude. enthusiasm and
 Is easily distracted are needed to  Needs to be encourages others to
and finds it difficult maintain focus on reminded to focus at participate.
to maintain focus. the dance. times.  Is consistently
May distract others.  Can stay focused focused and on task
and follows and encourages
instruction well. others to remain
focussed.
Level and  Uses little of the  Uses some of the  Attempts to use  Uses all space
Space space possible for space provided. most of the space provided, vertically
movements.  Movement is provided. as well as
 Student movement limited to only two  At times uses varied horizontally.
experiences only levels. levels within their  Uses all levels
one level. movement within their
experience. exploration of
movement.
Patterns  Pathways and  Uses one or two  Attempts various  Uses an extensive
and patterns are not pathways and pathways in their variety of pathways
Pathways apparent in the patterns in their movement. in their movement.
dance composition. dance.  Basic patterns are  Incorporates well-
included in their defined patterns in
dance composition. their dance
composition.
57
Creativity  Uses common and  Adapts some  Explores a variety  Explores numerous
and stereotypical options from others of creative options. creative options.
Interpretat patterns borrowed in their movement  Takes some risks in  Willing to take risks
ion from others.  Goes beyond the their exploration. in their exploration.
 Uses familiar familiar to take a  Movements show  Movements are
patterns and small risk. unusual patterns and highly original and
movements.  Movements repeat fair variety. carried out well.
 Re-uses a simple limited common  Movements
pattern borrowed patterns and themes. highlight the music
from others or in an interesting
media. way.
TOT
COMMENTS: AL
Next meeting please read in advance
Reflection:
solve?
58
Content Standard:
Identifies school and community resources in case of an injury or
emergency. PEH12FH-Ii-j-11
I. Objectives:
a. Identifies school and community resources in case of an injury or emergency,
b. Demonstrate the different procedure on how to prevent injury,
c. Value the safety of the performers to avoid any injuries.
II. Content
Subject Matter: Dance Related Injuries

Integration: Science and Health, DRRR
Company INC pp. 90-104
III. Learning Tasks
Preliminaries
 Prayer
 Greetings

59
A. Activity
Activity I. Video analysis
Show videos about dance injuries….
B. Analysis
Did you know?
Ojofeitimi and Colleagues ( 2012 ) reported that rate of injury among hip-hop
dancers and but higher that other forms. They are reported that break dancers have
a higher injury risk that poppers, lockers, and new school dancers.
Ask the students about their thoughts and ideas…. The teacher will process…..
 What particular part of the body of performers prone to injuries?
 Why is it important to educate you about different injuries particularly
dancers?
 How to prevent injuries?
C. Abstraction
The popularity of dance and dance- related competition in the recent years saw a
concomitant rise in dance-related-injuries. Similar to athletes, dancers are highly motivated to
perform well. They push their body to the limit and spend hours in technique training and
mastering a choreography. On the other hand dancers place a great value on their physique
that they often do not get proper nourishment, a habit that could impede their recover.
Dance- Related Injuries

Injury Risk Factor
What factors increase the risk of injury?

Researchers tried to identify the factors that influence injury risk. According to the
Meeuwisse model ( 1994 ). Some intrinsic factors predispose an individual to injury
and another set of extrinsic factors increase the susceptibility of an individual.
However, these risk factors require an event that will lead to an injury.
The following factors are common among dancers who have injury:
1. Poor body alignment and technique

2. Excessive Training and duration and intensity
3. Hand dance floor
4. Poor shoe design
5. Muscle imbalance
What are the common typed of dance-related-injuries?
60
There are two types of musculoskeletal injuries: acute and chronic.
 Acute injuries – occur when the mechanical force that is absorbed by the
musculoskeletal structure is more than what it is accustomed do.
 Chronic injuries – occur due to repetitive trauma and the body is not given
enough time to recover.
Table 1.1 Common Acute-related injuries ( Wozny, 2010)
Type Injury Cause Symptom Prevention

Ankle pain Twist the ankle after Pain at the side of the Exercises that
a jump ankle strengthen the
ankle and improve
balance
Dancers Fracture Twist the foot when Pain at the outer part Exercises that
turning of the foot strengthen the foot
and improve
balance
Back strain Sudden movement of Pain and stiffness in Proper posture and
the trunk the low back technique
ACL Tear Twists the knee after Pain and weakness in Exercises that
jump the knee strengthen the knee
and improve
balance
Forearm Fracture Falls on outstretched Pain and deformity Falls on the side or
arm near the wrist buttocks
Table 1.2 Common Chronic-dance-related injuries
Type Injury Cause Symptom Prevention

Stress Fracture Prolonged repetitive Pain at the front of Adequate rest
loading the leg (i.e shin)
Achilles Tendinosis Excessive training Pain near the heel in Strengthening and
the morning flexibility exercise
Patellofemoral Pain Muscle imbalance Pain at the of the Adequate rest
Syndrome knee
Plantar Faciitis Poor foot mechanics Pain at the sole when Proper technique and
and hard dance floor they take a step after footwear
sleeping
Hip and knee Prolonged repetitive Pain that worsen over Adequate rest
osteoarthritis loading time
61
Injury Prevention
What are some strategies that could reduce injury risk?
1. Programmed exercise and training

2. Adequate recovery
3. Appropriate environment
4. Proper footwear
5. Proper warm-up technique
6. Cross training
7. Early recognition
What is an Emergency Action Plan?

Each school needs to have emergency action plan. It is a written policy and
procedures that had been agreed upon by the faculty and staff, which is implemented during
emergency situations. It is common displayed in conspicuous places as a flow chart or an
algorithm of what to do in an emergency.
In the Philippines, the emergency hotline is 911. It can be accessed through phone and
mobile messaging. The hotline is a unified service for all the services provided by the DILG
such as police, fire department, and medical services. It is also important to determine the
contact number of a hospital closest to the school so that the ambulance can be called
immediately in times of emergency.
D. Application
Let’s do this
Group Activity
Interview a member of dance group in your school regarding the type of dance and training
that he or she engages in. Write a short essay regarding his/her dance background and risk
injury. The following are SAMPLE guide your essay. Write your essay in a manila paper and
present it in class.
 Is dance form at a high risk for injury?

 What type of technique training does he/she have?
 Is the training session strenuous and does he/she get sufficient recovery?
 What injury prevention strategies does he/she adopt?
62
Rubrics
Criteria 5 4 3 2 Total
Excellent VS S B
Group answer correctly

Mastery of the topic
Delivery and Presentation

of the topic
Cooperation
Total
Study and research in advance about Festival dances
Reflection:
solve?
63
Content Standard:
Demonstrates proper etiquette and safety in the use of facilities and
equipment. PEH12FH-Ia-t-12
I. Objectives:
a. Demonstrates proper etiquette and safety in the use of facilities and
equipment,
b. Perform the festival dance properly with ease and grace,
c. Appreciate the colorful culture of our country through Festivals.
II. Content
Subject Matter: Festival Dance

Integration: Araling Panlipunan
DCSPI-PD Technical Rules Latin Dance Syllabus
Company INC
https://www.slideshare.net/jawel02/an-introduction-to-
philippine-festival-dances-religious-and-secular-festivals-grade-
9-physical-education-mapeh-class
III. Learning Tasks
Preliminaries
Prayer
Greetings
Classroom Management
Checking of Attendance
64
A. Activity
Show different picture of different festivals in the Philippines
Let them name and give ask them about each festivals.
Process their answers…….. NAME OF FESTIVAL PLACE OF ORIGIN
RELIGIOUS FIGURE MONTH CELEBRATED
B. Analysis
Activity I. Video analysis

Show them a video of a Festival downloaded from youtube………
Ask students about their observations……..
https://www.youtube.com/watch?v=VVI1FOUsQyE
C. Abstraction
WHAT ARE FESTIVAL DANCES?

WHAT IS THE NATURE OF FESTIVAL DANCES?
WHY DO FILIPINOS DO FESTIVALS?
OTHER BENEFITS FROM DOING FESTIVALS…
SOME FAMOUS RELIGIOUS FESTIVALS ..
The Philippines is known to have a long list of festivals. With these, it is a fact that
the Filipinos enjoy the celebration and having to get together. Philippine festivals are
very vast and all depict the culture and tradition of each of the places. Some festivals
take place within a day or a week, but some last an entire month. A lot of tourists have
been attracted to these celebrations as it gives a colorful and energetic environment.
Philippines’ celebration of festivals is mostly religious in nature as this was because
of the influence of the Spanish colonization. However, some festivals are a
celebration to depict a significant event in the place’s history or to give thanks for an
abundant harvest.
Starting at the beginning of the year, the first famous festival that is taking place is the
Black Nazarene Procession of Quiapo (every 9th of January). Thousands of devotees
are taking part on the celebration by joining the largest procession in the country
which is usually called as the “translacion” or the transferring of the Black Nazarene
from Intramuros to the Quiapo church.
Next one is the Ati-atihan festival of Kalibo, Aklan (3rd week of January). The focus
of the festival is Sto. Niño. The street parade is characterized by the participants’ face
painting and tribal dances with indigenous weapons and costumes. The Sinulog
Festival of Cebu City also takes place in the 3rd week of January as Sto. Niño is also
the focus of it. Sinulog is said to be the most visited festivals in the country, not only
by the Filipinos but also by the foreigners. Still honoring Sto Niño, the Dinagyang
Festival of Iloilo City takes place in the 4th week of January. On this festival, one can
witness a big party on the streets – with bands and overflowing foods and drinks.
65
Meanwhile, in February, there is the Panagbenga Festival of Baguio City. The parade
of this festival is very charming due to its floral floats and people dressed as flora and
fauna.
In the province of Quezon, particularly in Lucban, the very colorful Pahiyas Festival
is celebrated every 15th of May. Vegetables from the “Bahay Kubo” song can be
widely seen in the house’s decorations and visitors can just pick them for free. Also
on the month of May, childless women come to Obando, Bulacan to dance on the
street to honor and request the patron saints of the city to let them have a child. On the
3rd week of August, there is the Kadayawan Festival of Davao City. It is the biggest
festival on the island and is characterized by flowers and fruits. Additionally, Bacolod
City’s MassKara Festival happens every October and every visitor will be
overwhelmed by the sweet smiles and colorful masks in the street dancing
competition.
On the other hand, there is also a festival that is unique and not very festive, this is the
Moriones Festival of Marinduque and is taking place every Holy Week. It is a re-
enactment of the story of St. Longinus and Jesus Christ. Participants of the act wear
big wooden soldier masks and Roman soldiers’ costumes.
D. Application
Divide the class into four groups and assign them a particular festival. Give them time
to practice, let them create a story line and the dance steps.
Note: Monitor/Guide every groups if they create it properly…….
Festival Dances
1. Sinulog Festival
2. Ati-atihan Festival
3. Kaamulan festival
4. Maskara Festival
Remind the students to be cautious of what they doing do avoid accidents. Research and
be sensitive of the cultures and belief of the festivals they assigned.
66
Rubrics Cheer Dance Technique
Excellent Good Fair Poor Total

4
3 2 1
Creativity
And
choreography
Theme
Execution
Costume
Total
Study and research in advance about cheer dance
Reflection:
solve?
67
Content Standard:
Demonstrates proper etiquette and safety in the use of facilities and
equipment. PEH12FH-Ia-t-12
I. Objectives:
a. Demonstrates proper etiquette and safety in the use of facilities and
equipment
b. Create a storyline that will show the culture of the festival.
c. Execute the dance steps correctly
II. Content
Subject Matter: Festival Dance (Continuation/Practice)

Integration: Araling Panlipunan, Values Education
Company INC
https://www.slideshare.net/jawel02/an-introduction-to-
philippine-festival-dances-religious-and-secular-festivals-grade-
9-physical-education-mapeh-class
III. Learning Tasks
Preliminaries
 Prayer
 Greetings
68
A. Activity
Gather the learners and give them time to have a brainstorming
B. Analysis
Call the leader of each group.
What is your story line?
Make sure the learners research the dance steps.
C. Abstraction
D. Application
Remind the students to be cautious of what they doing do avoid accidents. Research and
be sensitive of the cultures and belief of the festivals they assigned.

4
3 2 1
Creativity
And
choreography
Theme
Execution
Costume
Total
69
Study and research in advance about cheer dance
Reflection:
solve?
70
Content Standard:
Participates in an organized event that addresses health/dance issues
and concerns .PEH12FH-Ik-o-13
Explain the value of optimizing ones health through participation in
Pas. PEH12FH-I4
I. Objectives:
a. Participates in an organized event that addresses health/dance issues and
concerns
b. Explain the value of optimizing ones health through participation in PAs.
c. Perform the basic steps and techniques of cheer dance,
d. Appreciate the importance of cheer dance as part of a lifestyle for fitness.
II. Content
Subject Matter: Cheer dance

Strategies: Collaboration, Groupings, Demonstration

III. Learning Tasks
Preliminaries
 Prayer
 Greetings
71
A. Activity
What are the popular cheerleading/cheer dance competitions in the Philippines?

(Expect the students answer your questions)
What can you say about their performance?
Why the performers perform the routine perfectly?
(Let the students elaborate their answers)
B. Analysis
“ A good cheerleader is not measured by height of her jumps but by span of

her spirit”- unknown
Call somebody to explain about the given quotation…
C. Abstraction
Did You Know?
Cheerleading is an event that consists of cheers and organized routine for sports
team motivation, audience entertainment, or competition. The routines contain many
components of cheers, jump, dance, gymnastics, and stunting. The purpose is to
encourage the spectators of events to cheer for sports team and games. The yellers,
dancers and athletes involved in cheerleading are called cheerleaders. When they
grouped together as one, they called as squad.
History of cheerleading
Cheerleading history is linked closely to the United States history of sports, its
sporting venues, as well as the historical development of overall crow participation at
many athletic events.
Timeline of Cheerleading
What are the elements of a cheer dance routine?
Cheer dance contains dance technique, basic elements of cheers, and basic gymnastic
skills.
1. Dance Technique- depending on the competition requirements, various dance

techniques may be used in a cheer dance competition.
72
2. Elements of cheer- cheers are coordination of organized words and movements
relating to an athletic event.
Cheer motions- are also used to lead the crowd and emphasize words for crowd
response ( Carrier and Mckay, 2006) these are made up of hand, arm, and body
positions. Although cheer styles may vary according to the cheerleader’s
preference, all motions originate from the standard basic motions.
Hand Position Arms Positions

Bucket Flying V
Candlestick Low V
Blade T Motion
Jazz Hands Hall T
Clap Touch Down
Clasp Low Touchdown
Bow and Arrow
Muscle man
Overhead Clasp
Dagger
Box
Punch
L Motion
Diagonal
K Motion
Checkmark
Body Position
Beginning Stance
Cheer Stance
Side Lunge
Squat
Kneel
4. Basic Gymnastics Skills- Cheer dance incorporate simple gymnastics skills such as jump
and tumbling to add to the thrill of the game and the effect of a routine.
a. Jumps
 Approach
 Lift
 Execution
 Landing
73
Jumps
Tuck
Spread Eagle
Double Hook
Toe Touch
Side Hurdler
Front Hurdler
Pike
Double Nine
b. Tumbling- very dynamic and an excellent way to shake a crowd up quickly. Properly
incorporated tumbling can be real attention getter and crowd pleaser.
 Forward roll
 Backward roll
 Cartwheel
 Round-off
D. Application
Divide the class into 5 groups let them choose a leader and a choreographer. Their
task is to combine the dance elements, and elements of cheers. Apply the hands
position, Arms Position, Body position and cheer jumps for 20 minutes.

4
3 2 1
Hand
Position
Arms
Position
Body
Positions
Jumps
Tumbling
74
Next meeting please read in advance the dance choreography of cheer dance
Reflection:
solve?
75
Content Standard:
Display initiative, responsibility and leadership in sports activities.
PEH12FH-Ik-t-15
I. Objectives:
a. Display initiative, responsibility and leadership in sports activities
b. Choreograph the basic steps and techniques of cheer dance,
b. Perform the basic steps and techniques of cheer dance,
c. Appreciate the importance of cheer dance as part of a lifestyle for fitness.
II. Content
Subject Matter: Basic Formations in Cheer dance

Strategies: Groupings, Discussion
III. Learning Tasks
Preliminaries
 Prayer
 Greetings
76
A. Activity
B. Analysis
Show them a video of Cheer dance………

C. Abstraction
Basic formation in Cheer dance

Formations in cheer dance are crucial to the success of a squad’s performance. A
squad may use several formation but the two commonly used traditional formations
are the following:
 Bowling Pin
 Staggered Line
What are the segments of a cheer dance routine?

Cheer dance routines require a mixture of dance music and some cheer segment in
order to kick off a routine.
 Music Section- music plays a vital role in cheer dance routine as its sets
the tone and pace as well as adds to the creativity of the choreography.
 Cheer Section- This Section shows support for the high school or
program that the cheerleaders represent.
D. Application
The same groups give them time to create a dance piece and instruct them to
choreograph a cheer dance.
Cheer dance to be presented next meeting….
77
Dance Score Sheet
Category
Overall Effect Max Points Comments
Overall Impression 5
Energy and Dynamics,
Music
Communication and 5
projection
Expression and emotion,
Audience Impact and
Showmanship
Choreography Creativity and Musicality 10
Difficulty 10
Formations and Transition 10
Technique Execution of style(s) and 20
Clarity of movement
Placement/control/Extension 10
Strength of movement
Group Synchronization 20
Execution Spacing 10
Total 100
Reflection:
solve?
78
Content Standard:
PEH12FH-Ik-t-15
I. Objectives:
a. Display initiative, responsibility and leadership in sports activities,

b. Perform the basic steps and techniques of cheer dance.
II. Content
Subject Matter: Cheer dance Continuation (Practice )

Strategies: Collaboration
III. Learning Tasks
Preliminaries
 Prayer
 Greetings
79
A. Activity
Gather the learners and ask them to start their practice/create their own routine
B. Analysis
Always check and guide the learners
C. Abstraction
Entertain questions and clarifications

D. Application
Monitor every group
Dance Score Sheet
Category
Music
Communication and 5
projection
Audience Impact and
Showmanship
Difficulty 10
Clarity of movement
Total 100
Please prepare for a Dance Culmination for this semester. I will invite our subject
head and MAPEH Department Head to witness our dance showcase. Expect for
visitors to watch our show.
80
Reflection:
solve?
81
Content Standard:
PEH12FH-Ik-t-15
I. Objectives:
c. Perform the basic steps and techniques of cheer dance,
II. Content
Subject Matter: Cheer dance (Practical)

Strategies: Collaboration
III. Learning Tasks
Preliminaries
 Prayer
 Greetings
E. Activity
82
F. Analysis
Ask the students about their experience before and after…
G. Abstraction
Instruct the students to gather and get ready for Practical/ Performance
H. Application
Read the criteria for judging…

Call the leader for draw lots…
Dance Score Sheet
Category
Music
Communication and 5
projection
Audience Impact and
Showmanship
Difficulty 10
Clarity of movement
Total 100
Please prepare for a Dance Culmination for this semester. I will invite our subject
head and MAPEH Department Head to witness our dance showcase. Expect for
visitors to watch our show.
Reflection:
83
solve?
84
Health Optimizing Physical Education III
Content Standard:
Recognizes one’s potential for health- and dance related career
opportunities. PEH12FH-Ip-q-16
Organizes dance event for a target health issue or concern. PE12FH-
Io-t-17
I. Objectives:
a. Recognizes one’s potential for health- and dance related career

opportunities,
b. Organizes dance event for a target health issue or concern,
c. Perform all dances of what they learned in HOPE III,
d. Appreciate the importance as dance as form of exercise to help an
individual to become fit and healthy.
II. Content
Subject Matter: Organize a Program for Dance Showcase

Integration: Values education
Strategies: Collaboration, Dance Demonstration Skills Performance
Company INC
III. Learning Tasks
Preliminaries
 Prayer
 Greetings
85
A. Activity
Selection for officers to organize the Dance show case
Create a committee to plan for the production
1. Director
2. Stage Manager
3. Sound and Lights
4. Costumes
5. Documentation
6. Communication
B. Analysis
Planning will start…..
C. Abstraction
Draw lots for the sequence of presentation

1. Folkdance
2. Contemporary
3. Dance sports
4. Festival Dance
D. Application
Create a Rubrics for the show
Dance Score Sheet
Dance Performance Rubrics
Criteria Excellent Proficient Satisfactory Beginning Score

5 4 3 2
Choreography
Creativity
Interpretation
Costume
86
Congratulations! Let’s help one another remember class the success of our organization
lies of each and every one of us…
Reflection:
solve?
87
Content Standard:
Organizes dance event for a target health issue or concern. PE12FH-
Io-t-17
I. Objectives:
e. Organize dance event for target health concern,

f. Perform all dances of what they learned in HOPE III,
g. Appreciate the importance as dance as form of exercise to help an
individual to become fit and healthy.
I. Content
Subject Matter: Dance Showcase

Integration: Values education
Strategies: Collaboration, Dance Demonstration Skills Performance
Company INC
II. Learning Tasks
Preliminaries
 Prayer
 Greetings
88
A. Activity
B. Analysis
Ask the students about their experience before and after…
C. Abstraction
Culmination
Learners has already group themselves and aside already dance to perform..
1. Folkdance
2. Contemporary
3. Dance sports
4. Festival Dance
D. Application
Read the criteria for judging…

Call the leader for draw lots…
Program me
 Invocation
 Philippine National Anthem
 Opening Remarks
 Introduction of board of judges
 Dance Showcase
 Inspirational Talk
 Closing Remarks
III. Assessment/Evaluation
Dance Score Sheet
Dance Performance Rubrics
Criteria Excellent Proficient Satisfactory Beginning Score

5 4 3 2
Choreography
Creativity
Interpretation
89
Costume
IV. Assignment/Enrichment
Congratulations! Good Job…
Reflection:
solve?
90

Dlp-Hope Iii Jerry P. Tubo

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Lesson Plan in Health Optimizing Physical Education III

Subject Matter: Introduction to dance

III. Learning Tasks

Picture Analysis: Show pictures from a different dances.

Note: A much as possible teacher should prepare many pictures

Ask LOTS and HOTS questions...

History and Nature of Dance

Let the learners give their insights about this quotation…

Activity 1. Loop A Word

Physical Emotional Mental Social Cultural

Group answer correctly

Delivery and Presentation

Next meeting please read in advance about Elements of Dance

F. Which of my teaching strategies work well? Why did this work?

Subject Matter: Elements of Dance

III. Learning Tasks

Show a video clips about dance

What are the movements you observed from the video?

NOTE: Ask LOTS and HOTS questions...

C. Abstraction. Video Showing

Quarter: First Week: 3 Day: Once a week

Subject Dance Appreciation and Composition

III. Learning Tasks

NOTE: Ask LOTS and HOTS questions...

Note: Provide videos of any dances if internet is not available.

Dance Appreciation and Composition

What is the difference between Recreational dances to Dance fitness?

CREATIVE AND CHOREOGRAPHIC PROCESSES

Improvisation is creating movement or movement invention for making dances.

A structured improvisation is an experimental movement sequence that is loosely

Activity 1. Observing a piece of choreography

Activity 2 Dance Creation

Next meeting please read in advance about dance as arts

Subject Ethnic Dance ( Bukidnon Dances)

III. Learning Tasks

 What are the distinctive characteristics, colors, and physical features of

Kaamulan Festival is an ethnic cultural festival held annually in Malaybalay City,

Manobo These people are natives of the municipalities

Note: Teacher should facilitate if the students execute it correctly.

Next meeting please read in advance about Philippine Folkdance

Quarter: First Week: 5 Day: Once a week

Subject Matter: Phillipine Folk Dance Sakuting

III. Learning Task/Procedure

Croup 1. Entrance and Figure I

Note: Teachers can teach any Folkdances available.

Generalization: Why physical activities help to manages stress?

Criteria Outstanding Very Satisfactory Needs Total

Note: If possible let the students crafting their rubrics.

Next meeting please read in advance about dance sports

Quarter: First Week: 6 Day: Once a week

Subject Matter: Phillipine Folk Dance Sakuting (Continuation - Interpretation)

Let Review our last lesson

Give instruction to the students what to do.

Criteria Outstanding Very Satisfactory Needs Total

Note: If possible let the students crafting their rubrics.

Congratulations for an excellent performance

Quarter: First Week: 7 Day: Once a week

Subject Matter: Phillipine Folk Dance Sakuting (Practical )

Let Review our last lesson

Give instruction to the students what to do.

Criteria Outstanding Very Satisfactory Needs Total

Note: If possible let the students crafting their rubrics.

Congratulations for an excellent performance