UNIT 2: FUNDAMENTAL POSITION OF ARMS AND FEET, DANCE

TERMS & DANCE STEPS OF PHILIPPINE FOLK DANCE

Task:
Read the following content and analyze it, make use your time to search on YouTube about how
to execute properly the steps.

FUNDAMENTAL DANCE POSITIONS

There are five fundamental or basic positions in dance that are commonly termed as 1 st
position, 2nd position, 3rd position, 4th position, and 5th position of the feet and arms.

1st position
Feet: Heels close together, toes apart with an angle of about 45 degrees.
Arms: Both arms raised in a circle in front of chest with the finger tips about an inch
apart.

2nd position
Feet: Feet apart sideward of about a pace distance.
Arms: Both raised sideward with a graceful curve at shoulder level.

3rd position
Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position; other arm raised upward.

4th position
Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other arm raised overhead.

5th position
Feet: Heel of front foot close to big toe of rear foot.
Arms: Both arms raised overhead.

COMMON DANCE TERMS

1. Arms in lateral position- both arms are at one side, either sideward right or left, This
may be done at shoulder, chest or waist level.
2. Brush- weight on one foot, hit the floor with the ball or heel of the other foot (the free
foot) after which that foot is lifted from the floor to any direction.
3. Clockwise- like the motion of the hands of the clock. R shoulder is toward the center
of an imaginary circle.
4. Counterclockwise- the reverse direction of clockwise. L shoulder is toward the center of
an imaginary circle.
5. Crossed Arms – Partners facing each other or standing side by side join their left hands
together and the right hands together; either right over left or left over right hands.
6. Cut- to displace quickly one foot with the other, thus completely taking off the weight of
the body from the displaced foot.
7. Do-si-do- the vis-à-vis (opposites) both advance forward, pass each other’s right (or
left) side, step across to the right (or left), move backward without turning around pass
each other’s left (or right) side to proper places. This is of foreign origin and is used in
many Philippine dances.
8. Fr ee foot- the foot not bearing the weight of the body.
9. Free hand- the hand not placed anywhere or not doing anything.
10. Hands on waist- place hands at the waistline.
11. “Hayon-hayon”- to place one forearm in front and the other at the back of the waist.
This is a Visayan term.
12. Hop- a spring from one foot landing on the same foot in place or in any direction. The
other foot may be raised in any direction (in front, in rear, sideward or across).
13. Inside foot- the foot nearest one’s partner, when partner stand side by side.
14. Inside hand- the hand nearest one’s partner, when partner stand side by side.
15. “Jaleo”- partners turn once around clockwise (with R elbows almost touching) or
counterclockwise (with L elbows almost touching) using walking or any kind of dance
step. The hands near each other are on waists. This is a Tagalog term but of Spanish
origin.
16. Jump- spring on one foot or both feet, landing on both in any direction.
17. “Kumintang”- moving the hand from the wrist either in a clockwise or counterclockwise
direction. This is an Ilocano term.
18. Leap – A spring from one foot landing on the other foot in any direction.
19. Outside foot- the foot away from the one’s partner, when partners stand side by side.
20. Outside hand- the hand away from one’s partner, when partners stand side by side.
21. Place- to put foot in a certain or desired position without putting weight on it. The sole of
the foot rest on the floor.
22. Pivot- to turn with the ball, heel, or whole foot, on a fixed place or point.
23. Point- touch the floor lightly with the toes of one foot, weight of the body on the oth er
foot.
24. Masiwak – To turn the hand from the wrist half-way clockwise then raise and lower wrist
once or twice. This is an Ibanag term.
25. Panadyak – To stamp in front or at the side with the right foot and tap with same foot
close to the left foot. This is a Tagalog term.
26. Patay – To bend the head downward and to support the forehead with the R forearm or
with the crook of the R elbow while the left hand supports lightly the palm of the right
hand. This is usually done with the left foot pointing in rear and knees slightly bent. This
is an Ilocano term and the movement is commonly found in Ilocano dances.
27. “Salok”- to swing the arm downward-upward passing in front of the body as if scooping,
the trunk is bent forward following the movement of the arm doing the “salok”. This is a
Tagalog term.
28. “Saludo” -partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This term is of Spanish origin and is used in almost all
Philippine dances.
29. “Sarok”- Cross the R (or L) foot in front of the L (or R), bend the body slightly forward
and cross the hands (forearms) down in front with the R (or L) hand (forearm) over the L
(or R). This is a Visayan term.
30. Slide- to glide foot smoothly along the floor. The movement may be finished with or
without transfer of weight.
31. Stamp- to bring down the foot forcibly and noisily on the floor (like doing a heavy step)
with or without transfer of weight.
32. Step- to advance or recede by raising or moving one foot to another resting place. There
is a complete transfer of weight from one to another.
33. Tap – To rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping
weight of the body on the other foot. There is no change or transfer of weight.
34. Supporting foot- the foot that bears the weight of the body.
35. Whirl – To make fast turns by executing small steps in place to right or left.
 BASIC DANCE STEPS

Dance Steps Step Pattern Counting

2/4 TIME DANCE STEPS

1. Bleking step heel-place, close 1,2

2. Touch step point, close 1,2
3. Close step step, close 1,2
4. Hop step step, hop 1,2
5. Cross step step, cross or cross, step 1,2
6. Change step step, close, step 1 and 2
7. Changing step Jump ( one ft. in front and 1,2
The other in rear) there are
two Changing steps in a
measure
8. Contraganza step leap, cross-step, 1 and 2
step
9. Habanera step step, close, step 1, 2 and
10. Heel and toe heel-place, toe-point, step, 1, 2/ 1 and 2
Change step close, step

3/4 TIME DANCE STEPS

1. Native waltz step, close, step 1, 2, 3

2. Cross waltz cross-step, close, step 1, 2, 3
3. Waltz balance step, close-heels raise, 1, 2, 3
heels down
4. Mazurka step slide, cut, hop 1, 2, 3
5. Redoba step slide, cut, cut 1, 2, 3
6. Sway balance w/ A point step, cross-step, step point 12, 3/ 1, 23
7. Sway balance w/ A hop step, cross-step, step, hop 12, 3/ 1, 23
8. Sway balance w/ A waltz step, cross-step, step, 12, 3/ 1, 2, 3
close, step
9. Engano w/ a waltz step, cross-step, step, 12, 3/ 1, 2, 3
close, step

4/4 TIME DANCE STEPS

1. Escotis step step, close, step, hop (raise 1, 2, 3, 4

foot In rear)
2. Chotis step brush, raise, brush, 1, 2, 3, 4/1, 2, 3, 4
raise/Step, step, step, close

CHOTIS
Music: 4/4 time. Count 1, 2, 3, 4 to a measure (2 measures).
 Brush R (L) obliquely forward or sideward (ct. 11, raise R (L) in fifth in front or in rear (ct.
2), brush R (L) again as in count I (ct. 3), raise R (L) as in count 2 (ct. 4). Starting with the ()
toot, take three steps turning right (left) about in place (cts. 1, 2, 31), pause (et. 4). This may be
done turning to one direction only or to right and left alternately. The turn may be also a full turn
around in place to right and left alternately.

ESCOTIS
Music: 4/4 time. Counts 1, 2, 3, 4.

Step R (L) foot sideward (et. 1), step L (R) close to R (L) (ct. 2), step R (L) sideward (ct.
3), hop on R L)n pace and raise L (R) toot in rear with knee bent (ct. 4). This may be done in
any direction.

ENGANO with a WALTZ

Music: 3/4 time. Count.1, 2, 3 to a measure (2 measures)

Step R (L) foot in second position (eta. 1, 2), step L (R) across the R (L) foot in front (ct.
3). Step R (L) foot in second position (et. 1), step L (R) close to R (L) foot (et. 2), step R (L) in
place (et. 3) (waltz step in place). Arms in third position, R (L) arm high, or one arm in reverse
“T” position and the other bent forward at shoulder level, or in fourth position, R (L) arm high.

This step originated from the Bicol region.

ENGAÑO with a CLOSE

Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures)

Step R (L) foot in second position (cts. I. 21, step L (R) across the R (L) foot in front (ct.
3). Step R (L) foot in second position (ct. 1), close L (R) to R (L) foot in first (cts. 2, 3). Do not
put weight on the L (R) foot when closing on counts 2, 3. Arms in third or in fourth position, R (L)
arm high or one arm in reverse "T" and the other bent forward at shoulder level.

This step originated from the Bicol region.

SWAY BALANCE with a RAISE

Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures)

(a) Repeat the same movements as in sway balance with a point (a) (cts. 1, 2, 3).
(b) Step R (L) obliquely backward right (left) (et. 1), raise L (R) knee in front (cta. 2, 3).
Bend body slightly forward on ct. 1, and raise gradually upward to erect position on cts. 2, 3.
Open arms sideward at shoulder level on the first three counts (cts 1. 2, 3), bend forearms
forward and bring hands close to chest on the next three counts (cts. 1, 2. 3), or arms in fourth
position, R (L) arm high. If desired, forearm turns may be done on the second measure.

SWAY BALANCE with a HOP

Music 3/4 time. Count 1, 2 3 to a measure (2 measures)

(a) Repeat the same movement’s as in sway balance with a point (a) (cts. 1, 2, 3).
(b) Step R (L) obliquely backward right (left) (ct. 1), raise L (R) foot across the R (L) in
front (ct. 2), hop on the R (L) foot (et. 3). The same arm movements as in sway balance with a
point.
 SWAY BALANCE with a WALTZ
Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures).

(a) Repeat the same movements as in swey balance with a point (a) (ets. 1, 2. 3).
(b) Step R (L) obliquely backward right (et. 1), step L (R) close to R (L) (ct. 2), step R (L)
in place (ct. 3). The sane arm movements as in sway balance with a point.

SWAY BALANCE with a CLOSE

Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures).

(a) Repeat the same movements as in sway balance with a point (a) (cts. 1, 2, 3).
(b) Step R (L) obliquely backward right (ct. 1), close L (R) to R (L) in first or third position
in front with the L (R) heel raised (ets. 2. 3). The same arm movements as in sway balance with
a point.

SWAY BALANCE with a BRUSH

Music: 3/4 time. Count 1, 2, 3 to measure (2 measures)

(a) Repeat the same movements as in sway balance with a point (a) (cts. 1, 2, 3).
(b) Step R (L) obliquely backward right (ct. 1), brush L (R) foot forward (cts. 2, 3). The
same arm movements as in sway balance with a point.

SWAY BALANGE with a POINT

Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures).

(a) Step R (L) foot obliquely forward right (left) (cta. 1, 2), step L (R) across the R (L.)
foot in front (et. 3) . . . . . . . 1M
(b) Step R (L) obliquely backward right (left) (ct. 1), point L (R) in fourth in front (cts. 2, 3)
. . . . . .1M

Arms in fourth position R (L) arm high. Kumintang R (L) hand when pointing with the L
(R) foot on ets. 2, 3 of the second measure.

REDOBA STEP.
Music: 3/4 time. Counts 1, 2, 3.

Slide R (L) foot in second position (ct. 1), cut R (L) foot sideward with the L (R) (et. 2),
cut L (R) with the R (L) foot and raise the L (R) foot in rear of the R (L) knee (ct. 3).

MAZURKA STEP
Music: 3/4 time. Counts 1, 2, 3.

Slide R (L) foot in second (ct. 1), cut R (L) sideward with the L (R) foot (ct. 2). Hop on the
L (R) foot and beat in rear or in front the R (L) foot close to the ankle of the L (R foot (et. 3). This
step may be executed forward, obliquely forward, sideward or going around also with one foot
leading.

Note: It is most important that the cut be finished with an absolutely straight knee in
order that the final action may bring out the knee-bent position.
WALTZ BALANCE.
Music: 3/4 time. Counts 1, 2, 3
 Step R (L) in fourth or intermediate in front (et. 1), cláse L (R) foot to R (L) in first or third
position in rear and raise heels (et. 2), lower heels with the weight of the body on the R (L) foot
(ct. 3). The knees are slightly bent before raising the heels. This may be executed forward,
backward, obliquely forward and backward, sideward right and left.

CROSS WALTZ
Music: 3/4 time. Counts 1, 2, 3

Step R (L foot across the L (R) in front and raise slightly the L (R) foot across in rear (et.
1), step the L (R) close to R (L) in third or fifth position in rear (ct. 2), step R (L) foot in fourth in
front (ct. 3). Step on the ball of the rear foot on the second count.

WALTZ STEP
Music: 3/4 time. Counts 1, 2, 3

Step L (R) foot in fourth in front (ct. 1), step R (L) close to L (R) in first or third position in
rear (ct. 2), step L (R) in fourth in front (et. 3)

This may be executed in all directions

HEEL AND TOE CHANGE STEP

Music: 2/4 time. Counts, 2, 1, and, 2 (2 measures).

Place the R (L) heel in fourth in front (ct. 1), touch the R (L) toe in rear (et. 2). Take one
change step forward, starting with the R (L) foot (cts. 1, and, 2). This may be executed forward
and backward and in oblique directions.

HABANERA STEP
Music: 2/4 time. Counts 1, 2, and.

Step R (L) in fqurth in front (et. 1), step L (R) elose to R (L) in first position (et. 2), step R
(L) in place (et. and). This may be executed in any direction.

CONTRA-GANSA
Music: 2/4 time. Counts 1, and, 2,

Leap sideward right (left) onto R (L) foot (et. 1), step L (R) across the R (L) in front (ct.
and), quickly step the R (L) foot in place (ets. 2) . This is most commonly done sideward.

GRAPEVINE
Music: 2/4 time (Use music of Contra-Gansa). Count 1, 2 to a measure (two or more
measures).

Step R (L) foot in second position (ct. 1), step L (R) across the R (L) in front (or in rear)
(et. 2), step R (L) in second (et. 1), step L (R) across the R (L) in rear (or in front) (et. 2), and so
on.

Music: 4/4 time (use music of Chotis,) Count 1, 2, 2, 4 to a measure (two or more
measures). Same movements as above.
 Music: 3/4 time (use music of Cross Step page 14). Count 1, 2, 3 to a measure (two or
more measures).

(1) Step R (L) foot in second position (et. 1), step L (R) across the R (L) in front (or in
rear) (ct.2), step R (L) in second (ct. 3), continue crossing L (R) in front and in rear, and so on,
or
(2) Step R (L) foot in second (cts. 1, 2), step L (R) across the R (L) in front (or in rear)
(et. 3), and so on.

Note: This step may be done also by erossing the L (or R) foot first in front or in rear.

CHANGING STEP (PALIT-PALIT)

Music: 2/4 time. Counts 1, 2.

With a little jump off the floor, land on both feet with the R (L) in front and the L (R) foot
in rear (ct. 1), with a little jump (or spring) reverse the position of the feet (ct. 21. There are two
changing steps in a measure.

CHASING STEP
Music: 2/4 time. Counts 1, and, 2, and.

Step R (L) forward (et. 1) and step L (R) close to .R (L) in third in rear or first position (et.
and). This step is executed, with one foot leading in all directions. The steps are small. There
are two chasing steps in a measure.

CHANGE STEP (OR TWO.STEP)

Music: 2/4 time. Counts 1, and, 2.

Step R (L) foot in fourth in front (et. 1), step L (R) close to R (L) foot in third in rear or in
first position (et. and), step R (L) for quickly in fourth in front (ct. 2). This may be executed in any
direction.

CROSS CHANGE STEP

Music: 2/4 time, Counts 1, and, 2.

Step R (L) foot across L (R) in front (et. 1), step L (R) close to R (L) foot in third in rear or
in first position (et. and), step R (L) foot quickly in fourth in front (et. 2). This step is commonly
done forward and sideward.

SYNCOPATED CHANGE STEP

Music: 2/4 time. Counts 1, and,

Step R (L) in fourth in front (et. 1), step L (R) close to R (L) in third in rear or in first
position (ct. and), make a short slide on R (L) forward placing the weight on the heel as if doing
a "buck" (ct.2).

CROSS STEP
Music: 3/4 time. Counts 1, 2, 3
 Step R (L) foot in second position (ct. 1), step or slide (R) foot sideward right (lef1)
across the R (L in front (cts. 2. 3). Put the weight on the L (R) foot at the end of the slide on the
third count. This is done in series moving to one direction. To sideward right or left.

CLOSE STEP
Music: 2/4 time. Counts 1, 2

Step R (L) foot in fourth in front (et. 11, close L (R) to R (L) foot in third in rear or in first
position (et. 2). This may be executed in any direction.

Note: When done sideward, one foot leads. i.e., R foot leading when moving sideward
right, L foot leading when moving sideward left. There is transfer of weight to the closing foot.

TOUCH STEP
Music: 2/4 time: Counts 1, 2.

(1) Point R (L) foot in fourth in front (et. 1), step R (L) close to L (R) in first position (et.
2). This is commonly done in front, or
(2) Hop on L (R) and point R (L) foot in fourth in front (ct. 1), with a spring reverse the
position of the feet (et. 2), that is, pointing the L R) in front and the R (L) taking the weight of the
body. This is taking one count for every change of position of the feet. This may be done also
moving forward and backward.

BLEKING STEP
Music: 2/4 time. Counts 1,2

(1) Place the R (L) heel in fourth in front (et. 1), step R (L) close to L (R) foot in first
position (ct.2), or
(2) Hop on L (R) and place R (L) heel in fourth in front (ct. 1), with a spring reverse the
position of the feet (et. 2), that is, placing the L (R) heel in front and the R (L) in position taking
the weight of the body. This is taking it in one count. This may be done also moving forward or
backward.

Activity 1
Direction: Perform the Fundamental Position of the Arms and Feet in 4/4, 2/4 and ¾ time
signatures in both left and right side. Make sure to follow the correct timing, extension of arms,
and angle of the body and expression of movement. Scoring will be based on these criteria:

Grading Percentage for Activity 1

Timing 10%
Mastery of the steps 50%
Expression of Movements
& Correct execution of steps 40%
Total 100%

Percentage Equivalent Points

 96-100% 57-60
91-95% 53-56
86-90% 50-52
81-85% 47-49
76-80% 44-46
75-below 40-43

Activity 2
Direction: Practice the different dance terms in Philippine folk dance and perform the formulated
dance literature using the “PARU-PARUNG BUKID” music. Make sure to follow the correct
timing, demonstration of steps, extension of arms, and angle of the body and expression of
movement. Scoring will be based on these criteria:

Music Source:
Paru-Parung Bukid in 3/4 time signature
https://www.youtube.com/results?
sp=mAEB&search_query=paru+parong+bukid+time+signature

Link Video for Dance Terms

https://www.youtube.com/watch?v=YyA2Ysl58WI&t=33s

Grading Percentage for Activity 2

Timing 10%
Mastery of the steps 50%
Expression of Movements
& Correct execution of steps 40%
Total 100%

Percentage Equivalent Points

96-100% 57-60
91-95% 53-56
86-90% 50-52
81-85% 47-49
76-80% 44-46
75-below 40-43

List of the Dance Terms:

1. Sarok in 1 measure then arms in 2nd position 1 measure, then Whirl in 2 measure
clockwise.
2. Arms in lateral position 4 measures, then Hayon-hayon 4 measures, Bilao 4
measures and Kumintang 4 measures.
3. Arms in T position 2 measures, Arms in reverse T position 2 measures, Move Arms
in reverse T position starting from the right side to left side alternately in 4 measures.
4. Salok in 4 measures, Hop starting with the right foot and left foot alternately in 4
measures Hands on waist.
5. Leap forward in 4 measures and leap backward in 4 measures.
6. Slide forward in 4 measures and slide backward in 4 measures.
 7. Point in 1 measure then panadyak in 1 measure starting to the right side then repeat to
left side for 2 measures. Then repeat all item 7 in 4 measures.
8. Brush then Hop starting to the right side in 2 measures then repeat to left side for
another 2 measures. Then repeat all item 8 in 4 measure.
9. Repeat item 1-8
10. Saludo in 4 measures.

Activity 3
Direction: Perform the Dance Terms in Philippine Folk Dance for 4/4, 2/4 and ¾ time signatures.
Make sure to follow the correct timing, extension of arms, and angle of the body and expression
of movement. Scoring will be based on these criteria:

Grading Percentage for Activity 3

Timing 10%
Mastery of the steps 50%
Expression of Movements
& Correct execution of steps 40%
Total 100%

Percentage Equivalent Points

96-100% 57-60
91-95% 53-56
86-90% 50-52
81-85% 47-49
76-80% 44-46
75-below 40-43
Assessment
Direction: Create a dance routine base on the acquired knowledge about the Fundamental
Position of Arms and Feet, Dance Terms & Dance Steps of Philippine Folk Dance. Choose
among the five given music example below regarding the classification of Philippine Folk Dance.

CORDILLERA DANCE
Uyauy
https://www.youtube.com/watch?v=J2qZZjTyXnI&feature=emb_title

MARIA CLARA DANCE

La Jota Moncadena
https://www.youtube.com/watch?v=9FuX323YojY&feature=emb_title

MUSLIM DANCE
Singkil
https://www.youtube.com/watch?v=kkMhBhfBuHU&feature=emb_title

RURAL DANCE
Binasuan
https://www.youtube.com/watch?v=N2TOOz_eaTY&feature=emb_title

TRIBAL DANCE
Pagdiwata
https://www.youtube.com/watch?v=GE5LPmaZ5ZU&feature=emb_title

Things to do:
1. Strictly choose one music among the five given examples.
2. Be sure to finish the whole music.
3. Please strictly follow the rubrics to get a high score.
4. Wear PE attire and rubber shoes or you can create your own costume.
5. Female hair must be properly tied up.
6. If you are not able to perform due to the following reasons (Pregnant, PWD, or any
medical and physical issues) do these interventions (create the routine and let other
member of the family perform the task provided you have to make narrative report on the
process).
7. Keep in mind that this activity is your assessment for unit 2 so please follow the rubrics
and all given instructions.

Answer the 2 questions after making the video. Encode or write this in a clean sheet of paper,
and take a picture of it. You can pass your output in our Google classroom.

1. How does the chosen music differ from exercising with the modern music like ZUMBA
mix? (How you feel? How you react on the music? How it conveys the rich culture of
Filipinos? And how it gives importance on the preservation of Filipino culture?)
 RUBRICS (Unit 2 Assessment) 150 Points
Criteria Weight Excellent Good Acceptable Partial Minimal
5 4 3 2 1
For Dance Routine
Timing to 5 The performance The The The The
is outstandingly performance performance performance performance
Music accurate in beat, shows great shows a good rarely shows a attempts to
tempo, rhythms understanding understanding of basic keep a rhythm,
and dance of tempo and tempo and beat understanding but often gets
sequences. beat by rarely but periodically of tempo and off beat and
getting off beat gets off beat or beat, but speeds up or
or making makes errors in sometimes falls falls behind.
errors in rhythm. behind and/or Doesn’t follow
rhythm. speeds up in beat of music.
places or makes
errors in rhythm.
Choreography 8 Demonstrates Demonstrates Demonstrates Demonstrates Remembers a
excellent good knowledge of some few of the
or the routine knowledge of the knowledge of choreography. knowledge of steps/
choreography and choreography. Keeps up with choreography, movements
does it well. Keeps up with the but unsure of and tries, but
the performance. some looks lost and
performance. Some errors (3- movements. out of sync
Few errors, 5 errors) Sometimes with own
however it does causing brief hesitates/ performance.
not interfere pause in watches own
with performance. movements and
performance. makes several
errors
Technical 7 Dance performed Dance Dance Only some Although
with great performed with performed with understanding remembers
Skills and attention to quality attention to attention to most of technical some of
qualities of of movement, details of details of elements (ie. dance, little
body position, technique, has technique, but Footwork, attention paid
movements placement on attained hasn’t attained quality of to how
dance space and proficiency in proficiency in movements, movements
other details. Also dance style. dance style yet. body positions) are done or
demonstrates an Some technical demonstrated in other details of
excellent errors. performance. dance.
understanding of
dance style.
For Written
Content of 10 Student is able to Student is able Student is able Student is There is no
answer all to answer most to correctly unable to answer
Answers questions questions about answer some correctly answer relevance of
correctly. All of the a text. Most of questions about any questions answers at all.
answers make the answers a text. about a text.
sense. make sense. Some of the The answer
What has been What has been answers make does not make
writing about is writing about is sense. Answer sense. Answer
clear and well- clear. The is incomplete. is incorrect or
expressed, student Student put no response is
including specific answered the thought into this, given. There is
examples to question. but there is no no clear or
demonstrate what real evidence of specific
has been learned. learning. More explanation in
Well done! specific answer to the
information is question.
needed or need
to follow the
directions more
closely.
Sources: For Content and Answers (https://www.rcampus.com/rubricshowc.cfm?code=GX69423&sp=yes&)
(https://www.rcampus.com/rubricshowc.cfm?sp=yes&code=U66W43&) . For Timing, Choreography and Technical
skils (https://www.rcampus.com/ rubricshowc.cfm?code=E8X3A9&sp=yes&)