G12 05 Stem: PE Documenta Tion

University of Makati
J.P. Rizal Ext., West Rembo, City of Makati

Higher School ng UMAK (HSU) Department
G12 05
STEM
PE
DOCUMENTA
TION
CONTENTS
01LIST OF MEMBERS
02CONTEMPORARY DANCE
2.1HISTORY
2.2PICTURES
03CHEER + HIPHOP DANCE
3.1HISTORY
3.2PICTURES
3.3CRITERIA
LIST
OF
MEMBERS
DANCERS:
Abion, Shem –
Adoptante,Jimuel -
Agbay,David Matthew -
Aggarao,Andrea Denise . -
Alay,Patricia Kaye . -
Ariaga,Bethy -
Badajos,Kimverly -
Balajadia,Earl -
Balboa,Nicky Shane . -
Ballesta,Stefanie -
Bardinas,Elvie.
Barradema,Mark -
Bonifacio,Allen Jason . -
Bugagon,Nick -
Casanoba,John Ace -
Casinao,Hanna Angelika -
Celiz,Joshua . -
Clavillas,Christine. -
Custodio,Ronald Alan -
De Guerto,Bruce . -
Diaz,Harmpry -
Duran,Great Blessing -
Felipe,Dulce Amor -
Felipe,Mary Avigail -
Glean,RayeKyla -
Godoy,Arthur -
Gogolin,Mary Concepcion -
Lamces,Christian . -
Layan,Mary Ann .–
Layan,Mary Grace -
Llegado,Nicole Angelli.–
Loquinerio,Ronald Carlo . -
Lorenzo,Jesselle -
Manio,Karlene C. -
Manzano,Rizza -
Nacional,Rachel.
Nogoy, Adrian -
Noval,Roselle -
Ocampo,Shiela -
Ochoa,Carl Dominic. -
Oliva,Neil -
Pacanas,Rose Diane
Rodillas,Angelo Amando
CHOREOGRAPHER:
Casinao,Hanna Angelika
DOCUMENTATION:
Biong,Jhon Paulo
Bunuan,Arteddy.
Concepion,Andrei Paula
Gardoce,John Carlo
Pegarit,Joshua.
CONTEMPORAR
Y DANCE
HISTORY OF
CONTEMPORARY DANCE
Around 1980s, the world "contemporary dance"
referred to the movement of new dancers who did not
want to follow strict classical ballet and lyrical
dance forms, but instead wanted to explore the area of
revolutionary unconventional movements that were
gathered from all dance styles of the world.Contemporary
dances therefore do not use fixed moves and instead try
to develop totally new forms and dynamics, such as quick
oppositional moves, shifting alignments, expressions of
raw emotions, systematic breathing, dancing moves
preformed in non-standing positions (for example lying
on the floor), and in general trying to find the
absolute limits of our human form and physique.
The origins of this popular dance movement can be
traced to several influential dance masters such as
Isadora Duncan, Martha Graham and Merce Cunningham.They
all wanted to show to the world that contemporary

dancers should embrace freedom, ignore old dance
conventions and explore the limits of the human body
and visual expression of feelings.Also, one of the
precursors to the contemporary dance can be found in
the millennia's old techniques of Zen Buddhism and
Indian Health Yoga, which incorporates various dancing
philosophies that closely follow the principles of
contemporary dance.
Dancer who introduced and greatly popularized the
contemporary dance to the worldwide audience was Martha
Graham (1894 - 1991). During her seven decade long
career, her modern dance and choreographies gathered
the fame that is today compared to the life works of
legendary art geniuses such as Picasso, Stravinski and
Frank Lloyd Wright.
Merce Cunningham refined the work that his
colleague Martha Graham formed, and expanded with this
his own improvements, choreographies and avant-garde
dance techniques.During his long career he was regarded
as one of the greatest creative forces in American
dance, education dozens of worldwide famous dancers and
thousands professional dancers who preserved his style
until today.Lester Horton was a very influential
contemporary dance visionary, who trained many famous
modern dancers and managed to incorporate the styles of
Native American dance and modern jazz into his dance
techniques.
Source:
http://www.dancefacts.net.dance.types.contemporary.dance
PICTURES
PICS WITH
CAPTION
PICS WITH
CAPTION
PICS WITH
CAPTION
PICS WITH
CAPTION
PICS WITH
CAPTION
CHEER+
HIP HOP
DANCE
HISTORY OF
CHEERLEADING
Cheerleading’s roots are closely tied to American
football’s. The first intercollegiate game was played in
1869, between Princeton University and Rutgers
University in New Jersey, and by the 1880s. Princeton
had formed an all-male pep club. A graduate of
Princeton, Thomas Peebles, took the Princeton cheers to
the University of Minnesota, where football and fight
songs were becoming very popular. In 1898, U of M was on
a losing streak, and a medical student named Johnny
Campbell assembled a group to energize the team and the
crowd. Johnny picked up a megaphone and rallied the
team to victory with the first organized cheer:
“Rah, Rah, Rah! Ski-U-Mah! Hoo-Rah! Hoo-Rah!
Varsity! Varsity! Minn-e-so-tah! Cheerleading grew from
there. It wasn’t until 1923 that women were allowed to
cheer for the first time, at the University of
Minnesota. During this decade, cheerleaders added
tumbling and acrobatics to their routines, and a
University of Oregon cheerleader used flashcards for
Commented [L1]:
the first time. Although women were joining teams in
the ‘20s, it wasn’t until the ‘40s that they joined in
large numbers, since so many college-aged men went off
to fight in World War II.
In 1948, Southern Methodist University cheerleader

Lawrence Herkie” Herkimer held the first summer
cheerleading clinic at Sam Houston State Teacher’s
College now State University), and went on to develop

his signature “Herkie” jump, the spirit stick and the
pompon, all cheerleading staples to this day. In 1961,
he incorporated the National Cheerleaders Association
(NCA..
By the 1960s, cheerleading could be found in

virtually every high school and grade school across the
country, and pee wee and youth leagues had developed as
well. In 1974, Jeff Webb (who had been general manager
of NCA) founded Universal Cheerleaders Association
(UCA), which taught higher level skills. The ‘80s decade
brought the launch of many more event companies, as
well as AACCA American Association of Cheerleading
Coaches and Administrators), in 1987, the first
association devoted to teaching safety to coaches and
advisors. UCA has grown into Varsity Spirit Corp.,
today, encompassing 17 cheerleading event, apparel and
service companies.
All Star cheerleading started in the late ‘80s, and
grew rapidly through the ‘90s. All Star cheerleading
focused on athletic training and competition
performances, as opposed to school-based cheerleading,
which still encompassed leadership and spirit qualities.
Today, many companies offer both scholastic and All
Star categories, and some companies focus primarily on
All Star cheerleading.
The original purpose of cheerleading is still
relevant in today’s world, even with the increasing
popularity of competition.
Cheerleaders are the promoters of their schools and

communities. They are a key marketing tool to the
athletics programs that they support, and they create
the community patriotism we call “school spirit. Most
importantly, they are tomorrow’s leaders who through the
development of athletic skills, leadership, and
teamwork will be vital members of the community in the
future. Be a cheerleader and become a leader.
HISTORY OF HIPHOP
DANCE
Hip-hop began in the early 1970s when DJs and MCs
began to experiment and produce music composed of
poetry over instrumental tracks or dubbed versions of
music records. One of the very first DJs/MCs was DJ Kool
Herc, a native of Kingston, Jamaica who brought this
form of music to Bronx, N.Y.
As hip-hop began to catch on, different artists

began to develop their own style and “hip-hop dance”
emerged. Today, there are multiple types of hip-hop
dance, but it all began with just three: popping,
locking, and breaking. People began to form dance crews
to show off their moves and to battle other crews. It
was through these battles and the collaboration of the
three types of hip-hip dance that new dance forms and
techniques were created and became an integral part of
hip-hop culture.
Hip-hop dance allows people to express themselves

without barriers though “freestyle” dance or through
more structured choreography, where dancers have the
opportunity to practice style and technique. After
perfecting the fundamentals of hip-hop dance, dancers
have an easier time learning and creating new
techniques, dance styles, and routines.
EXPRESS. A hip-hop based student group at

Elizabethtown College, focuses on collaborating the
different types and styles of hip-hop dance and
welcomes all student who wish to learn more about the
history of hip-hop culture and dance. EXPRESS also
incorporates other related styles of dance such as
reggaeton, salsa, krumping, interpretive and
contemporary dance in efforts to help diversify the
Elizabethtown College campus and offer a new exciting
activity for student looking for a creative outlet.
CHEER HIPHOP DANCE

Most cheer routines, particularly for competitive
cheerleading, include two and a half minutes of upbeat
music, stunting, tumbling and dance moves.Hip hop is a
fast-paced style of dance that goes well in the middle
of your cheer routine and can make the crowd and the
judges sit up and take notice.Hip Hop Attitude -When
performing a hip hop routine,remember that half the
dance is the attitude you bring to it.
Cheerleading competitions are the squad's biggest

opportunity to demonstrate the dancers' skills and
style, through fun but challenging routines .Beats should
be up-tempo, help individuals accentuate their
movement’s,highlight their most difficult stunts, and
give them a chance to show a bit of attitude through
cheeky dance moves.Before you start a cheerleading
practice or routine, it's important that you warm up
and stretch out in order to help prevent injury . When you
choose warm up and stretching routines, make sure you
target the muscles you'll use while exercising.
References:
https://www.varsity.com/news/cheerleader/history/cheerleading/
http://www.wetown.org/p/360
https://cheerleadinglovetoknow.com.good/song/cheer
PICTURES
“Practice makes
perfect”
“Never stop until

you reach your
goal”
“GIRL POWER”
“One TEAM, One

GOAL”
JOHN 3:16
“For God so loved
the world that He
gave His one and
only son, that
whoever believes in
Him shall not
perish but have an
eternal life.”
CRITERIA
CHEER AND HIP HOP DANCE PERFORMANCE
P.E. GRADE 12
First Semester- Second Quarter
Final Output/Culminating Activity

Documentation/ Cheer and Hip-Hop Dance Performance
Physical Education as part of education provides the
opportunity for all students, to learn about physical movement
and engage in physical activity.It promotes goal-setting,
teamwork respect, self-esteem, perseverance, responsibility and
health living.In order to achieve, students should be provided
with good motivation and fun, exciting challenging activities
from an active, engaging and caring physical education teacher.
One activity where the students can showcase the skills and
knowledge they acquire, is a culminating activity.The students
perform their dance routine as a group, using the Elements of
Dance to communicate messages, thoughts and stories. In this
phase, students apply strategies to learn and remember
choreography.Cross-curricular learning opportunities include the
incorporation of coordinated costumes or the integration of
multi-media to enhance the artistic component of the
presentations.
Guidelines/Mechanics:
1. Cheer dance and hip hop must be integrated in the
performance.
2. Participants must be minimum of 40 and maximum of 55
members.
3. Routine must be minimum of 5 minutes and maximum of 7
minutes.
4. Cheering positions, styles and umping is allowed except any
form of tumbling and rolling. Only first level of lifting
is allowed.
5. The teacher and the students will agree on how they will be
able to document and present it in class in a manner that
there will be no disruptions of other classes.
6. The presentation should be documented. Pictures of at least

10 copies with caption per class (may be printed or pasted
in a short bond paper) must be submitted to the teacher in
a bounded copy.
7. Teacher must grade the class using cheer dance rubrics.
CHEERDANCE GRADING RUBRIC

CRITERIA PERCENTAGE
CHOREOGRAPHY 30%
COMPOSITION OF ROUTINE (15 pts.The judges will credit here.:
How well the movement complements the music (such as sound
effects, rhythms, lyrics, etc.as well as creative
concepts.Skill incorporation that supports the flow of the
routine as well as individual or small group work that
enhances the routine dynamic.Appropriate utilization of the
team’s ability level.
ROUTINE STAGING/ VISUAL EFFECTS (10 pts)The judges will
credit here.How the dancers are staged on the floor.The
seamless incorporation of unique and challenging formations
and transitions. Visual effects that are created with
interactive movements and incorporation of creative and
unpredictable visuals, group builds, illusions, patterns,
levels and/or opposition.
DEGREE OF DIFFICULTY (5 pts.The Judges will credit here.The
difficulty of the routine (does not reflect execution..
Effective incorporation of challenging elements.Overall
level, pace, and intricacy of hip-hop movements such as
footwork, direction changes, and technical elements.
GROUP EXECUTION 20%

UNIFORMITY / SYNCHRONIZATION (10 pts.The judges will credit
here.How well the team dances together as a group,rather than
the execution of technique.Consistent unison, timing/rhythm
by the group as a whole.Uniformity of team movement within
both choreography and skills.
SPACING (10 pts.The judges will credit here.The ability of
dancers to gauge and position themselves correct distances
between each other in and throughout all formations and
transitions.
40%
10%
TOTAL 100%

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University of Makati

J.P. Rizal Ext., West Rembo, City of Makati

all wanted to show to the world that contemporary

In 1948, Southern Methodist University cheerleader

College now State University), and went on to develop

By the 1960s, cheerleading could be found in

Cheerleaders are the promoters of their schools and

As hip-hop began to catch on, different artists

Hip-hop dance allows people to express themselves

EXPRESS. A hip-hop based student group at

CHEER HIPHOP DANCE

Cheerleading competitions are the squad's biggest

“Never stop until

“One TEAM, One

Final Output/Culminating Activity

6. The presentation should be documented. Pictures of at least

CHEERDANCE GRADING RUBRIC

GROUP EXECUTION 20%

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