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SSP > PE MIDTERM > Flashcards

PE MIDTERM Flashcards

1
Q

are combinations of physical movements with sounds, beats, or music.

A

Rhythmic activities

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2
Q

rely on an internal or external rhythm, used for self- expression, exercise, demonstration or physical ability, socialization, and expression of culture.

A

Rhythmic activities

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3
Q

are whatever set up specific arrangement patterns like dancing certain steps or singing a particular pitch. This is normally utilized for stimulation exercises.

A

Rhythmic activities

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4
Q

Every individual has rhythm. It is found in all of nature and is natural to every individual. Rhythm is most clearly seen through dance- the art of movement.

A

Rhythmic activities

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5
Q

Is the regular recurrence of accented and unaccented beats.

A

Rhythm

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6
Q

a term which denotes an aspect of a quality of movement that is sometimes thought of as dance. When an individual moves in response to a particular rhythm or music we call the movements as rhythmic movements or rhythms.

A

Rhythms

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7
Q

Structured forms which start creative rhythmic movements are called

A

Rhythms

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8
Q

Rhythmic activities improves physical and mental health. Aside from increased physical confidence, rhythmic activities can also improve mental functions because rhythm regulates the brain and prevents cognitive decline. It also boosts the chemical in our brain.

A
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9
Q

During rhythmic activities, individuals participate in rhythmic body movement, drumming, auditory stimulation, playing musical instruments, singing and chanting, to name a few, with a trained leader guiding the group toward a therapeutic purpose.

A
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10
Q

refers to movement set to music where there emerges organization, structure and pattern. It is a composition that implies arrangement of parts into a form.

A

Dance

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11
Q

is a means of expressing one’s emotions through movement disciplined by rhythm. It is an act of moving rhythmically and expressively to an accompaniment.

A

Dancing

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12
Q

The word—- came from an old German word “ danson” which means to “ stretch”.

A

Dancing

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13
Q

Essentially, all —– is made up of stretching and relaxing.

A

Dancing

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14
Q

Archeology delivers traces of dance from prehistoric times such as Egyptian tomb painting depicting dancing figures and from circa 3300 B.C and the Rock Shelters of Bhimbetka paintings in India.

A
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15
Q

Dance became part of human culture.

A
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16
Q

Dance was one of the methods of passing these stories from generation to generation.

A
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17
Q

Written and visual evidence of dance has survived from ancient Mediterranean and Middle East Civilization.

A
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18
Q

Dance may also be part of courtship,worship and or work.

A
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19
Q

In the field of dance, there are certain fundamental knowledge and rhythmic skills considered important for proficiency and efficiency in bodily movements.

A

Rhythmic Fundamentals

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20
Q

the underlying pulse of a rhythm.

A

Beat

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21
Q

rate of speed of a movement.

A

Tempo

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22
Q

variation of stress of movement.

A

Intensity

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23
Q

lowness or highness of a tone.

A

Pitch

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24
Q

emphasis on certain beats.

A

Accent

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25
Q

the regular recurrence of beats which divides a musical design into measure.

A

Meter

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26
Q

measures grouped together.

A

Phrase

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27
Q

in music a vertical line across a staff dividing it into equal measures of time.

A

Bar

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28
Q

a pulse beat, a time limit.

A

Count

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29
Q

a printed symbol of a musical tone.

A

Note

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30
Q

a group of pulse beats.

A

Measure

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31
Q

refers to a note or set of notes with or without rest used for a certain dance step.

A

Note pattern

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32
Q

refers to the movement or movements done for each of the dance steps.

A

Step pattern

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33
Q

is the line of movement taken which maybe forward, backward, sideward, diagonal, upward, or a combination of those mentioned.

A

Direction

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34
Q

is movement through space that maybe done at a high, low, or medium level.

A

Level

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35
Q

refers to the area covered as the body moves. It maybe small as when the movement is done in one’s place; or large when movement covers a wide area as when getting away from one’s place.

A

Range

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36
Q

the path or design that is made while moving in space is what is termed as floor pattern. It may take a form of a circle, square, straight line or zigzag.

A

Floor Pattern

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37
Q

Are those that move the body in space in any direction with the feet as the moving base.

A

Locomotor movements

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38
Q

Are those in which various parts of the body move in space with a fixed base. The base may be standing, kneeling, sitting or lying.

A

Non-locomotor

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39
Q

Bending or shortening of a body part occurring at a joint.

A

Flexion

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40
Q

Turning, twisting or circling

A

Extension

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41
Q

Swinging/ swaying arms forward, backward or sideward.

A

Pendular

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42
Q

Striking and hitting: pushing and pulling.

A

Percussive

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43
Q

Shaking and beating

A

Vibratory

44
Q

A slow, smooth flowing movement with a balance of movement throughout the entire series.

A

Sustained

45
Q

A sharp movement followed by a series of slow or prolonged movements until a peak is reached.

A

Suspended

46
Q

Are sometimes called fundamental rhythms or natural dances.

A

CREATIVE RHYTHMS

47
Q

is an end product of exploration and improvisation of movements as children learn to move the parts of their body and to use them as instruments of expression.

A

CREATIVE RHYTHMS

48
Q

Is a cultural art form handed down from generation to generations. It communicates the customs, beliefs, rituals, and occupations of the people of a region or country.

A

FOLK/ETHNIC DANCE

49
Q

Folk dancing belongs to the people. It emanates from them. Ethnic tribes have their specific tribal art forms originated and danced by the people of the tribe.

A

FOLK/ETHNIC DANCE

50
Q

The setting of the social and ballroom dance is a social gathering with the more formal atmosphere than the simple and informal parties in which the recreational dances are the usual forms. Social and ballroom dancing are generally held in the evenings. The participants are usually in formal attire.

A

SOCIAL AND BALLROOM DANCE

51
Q

Includes dance mixers, square dance round and couple dances. Many of these dances have simple patterns and combinations of walking steps, polka step and the waltz step. The setting is usually informal gatherings and parties, reunions etc.

A

RECREATIONAL DANCE

52
Q

Is the highest form of dance. It is the end-product of exploration and improvisation of movements as the dancer or the choreographer expresses his feelings or emotions, ideas, and interpretations. This is a dance with a definite form, a beginning and an ending. The principles of art form are all observed in the composition of the dance.

A

CREATIVE DANCE

53
Q

a popular dance, considered as part of the tradition or custom of a particular people.

A

FOLK DANCES

53
Q

It is a traditional dance that expresses the thoughts, ideas, and feelings of a group of people in connection with everyday activities and experiences of the people who developed them.

A

FOLK DANCES

54
Q

Before the recorded history of the Philippines, before the Spanish conquistadors conquered and Christianized the populace, from the earliest occupation of this volcanic archipelago, the people danced. They danced to appease the gods, to curry favor from powerful spirits, to celebrate a hunt or harvest, to mimic the exotic life forms around them. They danced their stories and their shamanic rituals, their rites of passage and their remembered legends and history.

A

Pre – colonial

55
Q

Muslim traders from the Malay Archipelago reached the Philippines in the 14th century, well ahead of the Europeans. Their conversion of the populace was a modest affair; they were more interested in commerce than colonization, although they did establish strongholds and convert the local populace to Islam. They also created their own folk dances in the areas where they settled. They also created their own folk dances in the areas where they settled. Singkil is one of the most famous.

A

Muslim merchants

56
Q

Folk dances survived the European invasion, and the dancers adapted imposed Christian belief and culture to their own dances, borrowing court choreography but imbuing it with Philippine spirit. The Maria Clara dances merged Spanish court style (and its stylized courtship conventions) with Philippine exuberance.

A

Spanish colonization

57
Q

The revered folk dances from the lowlands and the hill tribes persist in their traditional form and in contemporary choreography for Philippine ballet companies. Dance is still the theater of identity for the Filipino people, a vibrant and cherished way to tell their story forward with all the rich history of their past.

A

Folkloric
fusion

58
Q

It is a contemporary performance of Kalinga of the Mountain Province in the Philippines. This dance illustrates the languid grace of a tribe otherwise known as fierce warriors.

A

BANGA

59
Q

Heavy earthen pots, as many as seven or eight at a time, are balanced on the heads of maidens as they trudge to the beat of the “gangsa” or wind chimes displaying their stamina and strength as they go about their daily task of fetching water and balancing the banga.

A

BANGA

60
Q

It is an indigenous dance from the Philippines in which coconut shell halves that are secured onto the dancers’ hands and on vests upon which are hung four or six more coconut shell halves

A

MAGLALATIK

61
Q

The name of the dance comes from the Filipino word “Latik”, which means “fried coconut milk curd”, a coconut product that is used in Filipino cooking, particularly in snacks.

A

MAGLALATIK

61
Q

All dancers are male; with harnesses of coconut shells attached on their chests, backs, thighs and hips.

A

MAGLALATIK

62
Q

Originally performed in Binan, Laguna as a mock-war dance that demonstrates a fight between the Moros and the Christians over the prized latik or coconut meat during the Spanish rule. This dance is also shown to pay tribute to the town’s patron saint, San Isidro Labrador.

A

MAGLALATIK

63
Q

It has a four-part performance such as the palipasan and the baligtaran showing the intense battle, the paseo and the escaramusa- the reconciliation.

A
63
Q

It has a four-part performance such as the palipasan and the baligtaran showing the intense battle, the paseo and the escaramusa- the reconciliation.

A

MAGLALATIK

64
Q

It is a very popular folk dance in the Philippines. It is said to have originated from Mindoro, the seventh-largest island in the Philippines. This dance of lights simulates fireflies at dusk and at night.

A

PANDANGGO SA ILAW

64
Q

The word pandanggo is from the Spanish fandango, a dance in ¾ time. The phrase sa ilaw is Tagalog for “in light” and it refers to the three oil lamps that a dancer has to balance — one on the head and one on the back each hand.

A

PANDANGGO SA ILAW

65
Q

The oil lamp is called tinghoy. Sometimes, candles in glasses are used instead of an oil lamp.

A
65
Q

The oil lamp is called tinghoy. Sometimes, candles in glasses are used instead of an oil lamp.

A

PANDANGGO SA ILAW

66
Q

Bangko means bench.

A

SAYAW SA BANGKO

67
Q

Performers of this dance needs to balance themselves all throughout the dance. In other words, this dance is a dance of balance. Amazing dance movements are shown while the pair of dancers are on the narrow bench.

A

SAYAW SA BANGKO

68
Q

Binasuan is a folk dance that originated in Bayambang, Pangasinan
The word “binasuan” means “with the use of drinking glasses.”

A

BINASUAN

69
Q

The dancers balance glasses on their heads and in their hands as they move. The glasses are filled with rice wine, which makes any misstep a messy mistake.

A

BINASUAN

70
Q

People dance binasuan at weddings and festivals.

A

BINASUAN

71
Q

meaning the loving or affectionate one

A

CARIÑOSA

72
Q

a Philippine dance of Hispanic origin from the Maria Clara suite of Philippine folk dances, where the fan or handkerchief plays an instrumental role as it places the couple in romance scenario. The essence of the dance was the courtship between the two sweethearts.

A

CARIÑOSA

72
Q

Tinikling means “bamboo dance” in English.
It is the country’s national dance.

A

TINIKLING

73
Q

Bamboo poles are being used to perform this dance. It is performed by pairs. One pair holds the bamboo and the other performs the dance.

A

TINIKLING

74
Q

The Kuratsa is highly favored by the Waray people of the Eastern Visayan region in the Philippines

A

KURATSA

74
Q

The Kuratsa must be done the amenudo; that is, only one couple dances it at a time.

A

KURATSA

75
Q

points either to the Kigal and the Bikal as the ‘ascendant’ of the Kuratsa.

A

KURATSA

76
Q

The Itik-Itik is a dance from Surigao del Norte, in which the movements of a duck are imitated.
It is a duck dance.
It is quite funny when you watch it but it is also a wonderful dance.

A

Itik – itik

77
Q

It is a famous dance of the Maranao people of Lake Lanao, which was popularised by the Bayanihan Philippine National Folk Dance Company.
The name of the dance itself means “to entangle the feet with disturbing objects such as vines or anything in your path”

A

Singkil

78
Q

A term which donates an aspect of a quality of movement that i sometimes thought as a dance

A

Rhythm

79
Q

when an individual moves in response to a particular rhythm or music we call the movements as —-

A

Rhythmic movements or rhythms

80
Q

Structures forms which start creative rhythmic movements

A

rhythms

81
Q

the basic of music and dance is

A

rhythm

82
Q

in dance is simply expressive movement made with or without music

A

rhythm

83
Q

is a measured motion or flow, characterized regular recurrence of elements and features as beats, sounds and accents

A

rhythm

84
Q

this word means “to stretch”. this means of expressing one’s emotions through movement disciplined rhythm. it is an act of moving rhythmically and expressively to an accompaniment

A

dancing

85
Q

is a transfer of weight from one foot to the other. using the feet to advance steps. usually, the heel touches first

A

walk

86
Q

is a transfer of weight from one foot from the other however, the body is propelled into the air and suspended between run steps. move fast by using the feet, with one foot off the ground at any given time

A

run

87
Q

required the body to push off from one or both feet. most common is a two foot take off and two-foot landing. can take off on one foot and land on two or take off from two feet and land one foot.

A

jump

88
Q

requires a puss-off from one foot and landing on the same foot.

A

hop

89
Q

is performed by pushing off from one foot and landing on the other foot. the body is suspended between the push off and the landing. a combination of a step and a hop on the same foot followed by a step and hop on the other foot.

A

leap

90
Q

a combination of a step and a hop on the same foot followed by a step and hop on the other foot. the rhythm is uneven, long-short. long (the step) and short (the hop)

A

skip

91
Q

a forward movement where one foot leads the gallop while the other foot follows. the lead footsteps with a bent knee and pushes off into the air and landing on the trailing foot. the rhythm is uneven, long-short.

A

gallop

92
Q

it is similar to a gallop performed with the right or left foot leading. the rhythm is uneven, long-short. long (the step) and short (the landing). landing on the trailing foot. the rhythms is uneven long-short.

A

slide

93
Q

a pendular motion of a body part that can move forward and backward or side to side

A

swing

94
Q

a partial rotation of body parts around an axis

A

twist

95
Q

a full rotation of the body around a vertical or horizontal axis. full, half, or quarter turns

A

turn

96
Q

a short quick vibrating movement in a body part or the whole body

A

shake

97
Q

a flex of a body part at a joing

A

bend

98
Q

extending a body part or the whole body

A

stretch

99
Q

a small or big, fast or slow, curvy movement of a body part or the whole body

A

wiggle

100
Q

a shift of the body weight forward, backward, side to side or in a circular pathway

A

rock or sway

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