fundamental steps in dancing

PE 004 "Volleyball the Making"

Serve Drills (Underhand and Overhand)

The drills listed here can be used for both Underhand and Overhand Serving.

 

Ball Toss Drill

 

Drill Description
Have the athlete assume the correct serving position (perpendicular to the endline, feet shoulder width apart, off hand holding the ball in front, palm up). The athlete will repeatedly toss the ball straight up and back down into the same hand. The height of the toss will initially be very low, perhaps only a few centimeters (2 inches). Once the athlete has gained confidence with a very low toss, slowly increase the height of the toss until the athlete can consistently toss the ball straight up and down 0.3 meters (1 foot).

Serve to Target Drill

 

Drill Description
Have the athlete assume the correct serving position. The coach will place targets on the opposite side of the net — two targets 3 meters (10 feet) from the net and 2 meters (6 feet) from each sideline; two targets 2 meters (6 feet) from the back line and 1 meter (3 feet) from each sideline. The targets can be folding chairs laid flat, open newspapers, chalk outlines, or even teammates sitting or lying on the floor. The targets should all be horizontal to better train the servers to serve into the court but away from the opposing players who will be standing (vertical).

TEAM VOLLEYBALL

Different types of FOLK DANCES

PHILIPPINE DANCES 
Filipino has boundless passion for dance. Traditional dances 
show influences of the Malay,  Spanish,  and  Muslim. Native 
dances  depict  different moods  of the culture and  beliefs,
tribal rites or sacrifice,  native feast and festivals, seek 
deliverance   from   pestilence,  flirtation  and  courtship, 
planting  and  harvesting.

Philippines dances were performed by famed dance  troupe such 
as the Bayanihan, the  Barangay, Kaanyag  Filipinas  and the 
Filipinescas or Karilagan. These dance  troupes have performed 
around the world  exhibitng the  dances of our country.  The 
more popular dances are featured here.

This is called Singkil, a Royal Muslim dance. Muslim are native who originally come from the Middle East. This well-known dance portray Filipino-Muslims courtship.

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This dance is called Pandango Sa Ilaw, "dance with lights". The dancers move gracefully with little cups of lights on their head and held on back of their fingers. This popular dance is of Malays' influence.

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The Filipinos love to celebrate Fiestas, wherein people feasted the whole day with lots of food, dances, laughter and games celebrating the town's patron saints. This picture is called Palaro or Palo Sebo, a game where the boys were made to climb a greasy pole at the end of which is a pot of gold. Whoever succeeds get the gold and share it with the girl he got as partner.

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This is the most beautiful dance called Tinikling, "bamboo or heron" dance of Malay influence. A heron is a wading bird with long legs, neck and bill. The dancers will dance around the bamboo gracefully, trying to dance according to the rhythm of the beatings of the bamboo. This dance is a great tourist attraction.

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This dance is one of the most interesting ceremonial dances of the Muslim people. This thanksgiving offering is an appeal for continued protection and for a bountiful harvest.

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Pagdiwata is a dance originating from the Tagbanua tribe of Palawan which depicts rituals after a rice harvest. These rites are held as part thanksgiving and part an appeal for continued protection.

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MAGLALATIK is a native dance that portrays the traditional rivalry among "latik" makers. Latik are cooked from extracted coconut milk and are very delicious and rich.

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This dance is called HABANERA SOLTERA. This dance is performed by the bride-to-be and her close friends at the traditional social gathering on the eve of the wedding. On this occasion, the bride bids farewell to the state of single-blessedness.

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Bilaan is a dance that depicts the lively, simple movements of birds in flight as they preen themselves, beautifully portrayed by tribal maidens. Costumes worn are typical of the Ethnic Tribe Bilaan from Cotabato.

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Obando Dance (named after a town in Bulacan) is a dance of rural Philippines. Attire is the native "balintawak" and "salakot" for the ladies and "barong tagalog" and "buntal" hats for the gentlemen.

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This dance is called Sayaw ED Tapew Na Bangko. An unusual native dance executed on a narrow "bangko" or bench.

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Dugsu is a ceremonial dance of the Muslims. An offering is made to their gods in thanksgiving for a bountiful harvest.

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Pandango Sa Sambalilo is a flirtatious dance from Bulacan, a barrio swain and his lady love plan and dance with a native hat. He tries to show off by picking the hat from the ground without using his hands.

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A Dance With Sticks (Sakuting). On Christmas, boys and girls go from one house to house to perform this special dance with sticks in return for which they receive many gifts. Rhythms is provided by hitting the sticks in time with the intricate but lively steps.

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Sua Sua is a dance from Jolo, Sulu. It is a courtship dance of the lover to his lady love, accompanied by a song, comparing her to the delicate, little white blossoms of the pomelo.

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KUMINTANG-the graceful hand movements from the wrist going clockwise, or counterclockwise while dancing. This is a typical characteristic movement of the hands in Philippine folk dances.

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BALANGBANG is a native victory dance of the Mountain Province.

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SIMPATIKA -The prettiest colegiala entertains four of her suitors at a time. She makes her choice knoown at the end of the dance.

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JOBATAL is a Philippines adaptation of the famous Jotas and Valses of Spain known for their elegant posturing.

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Jota Caviteña is a dance that shows strong Spanish influence. Costume is elaborately embroidered "Maria Clara" and "barong tagalog". Castanets fashioned from bamboo provide clacking sounds adding to the lifting music.

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Binanogbanog is a dance in imitation of the hawk which is held in reverence to the bird so as not to do harm to their community.

Tango ...
... is characterized by a staccato emphasis of the steps created by; flexed knees and long stalking strides as the dancers feet skim the floor. A very powerful dance, with big movements, long angular strides, with turning steps, quick stops, dramatic direction changes, throw outs, emotional gestures, to lingering freezes and quick snaps of the head and body. All are part of enticing interplay of Tango.

Cha Cha ...
... is characterized by its fast, animated and effervescence movements. The dancers weight is forward on the balls of the feet, which creates a flirtatious and fun interplay between partners. It also has the "chase" steps which is a freestyle element that is spontaneous and unique. This dances speed and playful steps makes the Cha Cha a lively and a popular dance.

basic swing

Swing...
...is characterized as the catch all title for Lindy Hop, Jive, Jitterbug, East Coast Swing, West Coast Swing, etc. Perhaps the most uniquely American of all the dances. The Swing brings forth a buoyant carefree movement, that becomes contagious. Swing may be danced comfortably over a wide range of tempos.

Single Time Swing is done without the triple steps. usually when the music is too fast to execute them. It also is taught to beginners in order to get them dancing quickly. It's Step, Step, Rock, Step - the rhythms is 1, 2, 3, 4.

Double Time Swing To fast for triple timing to slow for single timing, know it's Tap Step, Tap Step, Rock, Step - the rhythm is - a1, a2, 3, 4

Triple Time Swing The Tempo and your Skill Dictates the Timing - Triple Step, Triple Step Rock, Step - the rhythm is - 1a2, 3a4, 5, 6

Lindy Timing Step, Step, Triple Step, Step, Step, Triple Step - the rhythm is - 12, 3a4, 56, 7a8
No matter what the tempo this dance is infectious and lively 

First position
Heels are together, toes pointing outward. Your weight should be evenly distributed throughout all points. Keep in mind that not everyone will have perfect turn-out where their toes point directly at opposite sides. Instead, concentrate on a "V" formation with your toes in line with your kneecaps.
Second position
Similar to first position except for the fact that there is a space (about the length of one of your feet) between the heels. The weight should be evenly distributed on both feet while keeping your hips centered over the gap. Knees are straight but not locked.
Third position
The heel of one foot (either left or right) is placed at the instep of the other with the toes facing outward in line with your kneecaps. As in all these positions the weight is evenly distributed and hips facing forward. 

Fourth position
The simplest description is fifth position (see below) with a small gap between the front and back feet. Like second position, the weight should be centered over the gap with an even distribution at all points of the bottom of the feet.
Fifth position
Similar to third position only with the heel of the front foot (either left or right) placed at the big toe of the back foot. Dancers with advanced turn-out will have a smaller gap between the outside of the front foot and the instep of the back foot. The toes, however, as always, should be directed in line with the kneecaps. Also, as always, your weight should be centered and evenly distributed throughout the bottoms of your feet.
*Transitioning between positions is generally conducted with the use of a tendu.
Note: Some schools do recognize a "sixth position" in which the feet are parallel in line with the hip joint with the toes pointing forward.