This document provides definitions for various terminology used in folk dancing. It defines steps, movements, directions and positions. It also provides fundamental rhythms and examples of basic dance steps for 2/4, 3/4 and 4/4 time signatures. The steps are defined by their movement pattern and associated counting.
This document defines various terminologies used in folk dancing. It provides over 30 terms related to dance steps, directions, positions and movements. These include fundamental steps like bow, brush, clockwise, counterclockwise as well as dance steps for different time signatures like 2/4, 3/4 and 4/4 time. The terms are defined and some include the specific movement pattern and counting. The document serves as a reference for the vocabulary of folk dancing.
This document defines various dance terminology related to feet positions, arm positions, hand and finger movements, and other terms. It provides definitions for over 30 different dance terms including positions for the feet like weight on both feet, front foot, rear foot; arm positions like reverse T position and lateral position; hand and finger movements like komintang, finger flutter, and kiwit; and other terms like saludo, set, clockwise, and dos-a-dos. Understanding these basic dance terminologies is important for teaching dance using command style, interpreting dance notation, and communicating effectively about dance.
Folk dances are traditional dances that have evolved from everyday activities and been passed down through generations. Philippine folk dances reflect the country's diverse origins and regions. They are generally performed by couples or groups with distinctive movements, costumes, and music from Spanish, Muslim, tribal, rural, and Cordillera influences. Common steps include the saludo, sarok, and panadyak, while basic dance patterns include the blecking step, touch step, and native waltz.
This document defines common terminology used in folk dancing. It provides definitions for over 20 terms including arms in lateral position, bow or saludo, brush, clockwise, counter clockwise, cut, do-si-do or dos-a-dos, free foot, free hand, hop, inside foot, inside hand, jump, leap, outside foot, outside hand, point, pivot, set, slide, stamp, step, supporting foot, and tap. The definitions describe basic dance movements and positions such as turning directions, foot placements, hand positions, and ways of transferring weight between the feet.
Ballroom dances are social dances performed by couples to prescribed steps and patterns. They are categorized into two main types - standard dances and Latin dances. Standard dances originated in Europe and include the waltz, tango, foxtrot, quickstep, and Viennese waltz. They are danced in formal attire with restricted movements. Latin dances originated in Latin America and include the cha-cha-cha, rumba, samba, salsa, and mambo. They are characterized by revealing costumes, hip movements, and a more free style. The document provides details on the history, characteristics, and basic steps of several common ballroom dances.
This document provides information about folk dances in the Philippines. It discusses that folk dances are traditional dances that have evolved from everyday activities and rituals and are passed down through generations. The objectives of studying folk dances are to foster nationalism, appreciate Philippine music and dances, provide exercise and recreation, and improve posture. Characteristics include dancers standing apart with little contact, most being done in pairs or couples using hand movements. Different types of traditional dances are described based on region, including Cordillera, Spanish-influenced, rural, Muslim, tribal, and indigenous dances. Common dance terms and steps are also defined.
This document discusses fundamental dance steps and movements in Philippine folk dances. It begins by naming several common folk dances from the Philippines such as Tinikling, Pandanggo sa Ilaw, and Itik-Itik. It then describes fundamental foot and hand positions as well as various movements of the hands, arms, and feet that are used in folk dances. These include turns, crosses, lifts, stamps, leaps, and slides. The document also covers dance movements done with a partner, such as facing each other, moving clockwise or counterclockwise, and holding hands or elbows. Finally, it defines other key terms used in folk dancing.
Folk dance reflects the traditional life of a certain country or region. The document describes several traditional Filipino folk dances and their characteristic movements. These include the kumintang where partners stand side by side with locked elbows, the abrasete where dancers raise their arms gracefully from side to side, and the bilao where partners pass each other while moving backward without turning around. The final dance described is the saludo where partners bow to each other, the audience, or opposite dancers to open or close a dance.
This document outlines Tony Retrosi's plan for daily basics warmups at his gymnastics training centers. The basics are intended to continue warming up the body, prepare athletes for events, and set the tone for workouts. The plan includes basics for tumbling, dance, beam, bars, and each event. Exercises focus on handstands, rolls, body positions, and movement in different directions and on different sides. The coach provides tips like keeping it simple, moving around to see all athletes, and ensuring good form. The daily basics session varies slightly in focus but always includes active warmups and fundamentals for each apparatus.
The document provides instructions for performing a ballet leg, a signature move in synchronized swimming. It outlines three steps: starting in a back layout position, bending one knee so the toe slides up the straight leg, and then straightening into a full ballet leg position. It emphasizes keeping the body straight, sculling the hips to move through the water, and pointing the toes throughout. Practice is key to improving ballet legs over time.
This document provides instructions for fundamental positions and figures for physical education lessons and the Tinikling folk dance. It describes 5 basic positions for feet, including heels together and toes apart at a 45 degree angle. It also provides diagrams and steps for 8 figures of the Tinikling dance performed with bamboo poles. The text explains that two dancers start with poles on their left sides and take steps to the right side of the poles.
DEMONSTRATE PROPER ETIQUETTE & SAFETY IN THE USE OF FACILITIES & EQUIPMENT LEVIDEL
油
This document provides an overview of ballroom dance etiquette and technique. It discusses key etiquette points like dancing in a counter-clockwise direction on the dance floor, apologizing if contact is made with another dancer, and keeping conversation off the dance floor. It also covers choosing attire and shoes that are appropriate for dancesport competitions and techniques like maintaining proper hygiene. Warm-up exercises are presented like walking knee lifts, lunges, and foot rotations to prevent injury and properly prepare the body for dancing.
This document provides information on various hip-hop dance styles including breaking, popping, locking, house dance, voguing, and others. It describes the key elements and movements of each style. For example, it notes that breaking evolved from b-boying and includes toprock, downrock, power moves, and freezes. Popping involves body isolation and contractions to create a jerky effect. Voguing was created by the gay community and imitates model poses from magazines.
Gymnastics stunts can be individual, dual, or group activities. Individual stunts are performed solo and test flexibility, balance, and strength. Examples include the turk stand, rocking chair, and ankle hold walk. Dual stunts involve two people, like the wheelbarrow and double feet walk. Group stunts have three or more participants and can be more complex, such as the full elevator, liberties, and pyramids. Stunts are used to build skills and condition the body for gymnastics and tumbling.
Gymnastics stunts can be individual, dual, or group activities. Individual stunts like the turk stand, rocking chair, and prone rocking test flexibility, balance, and strength. Dual stunts such as the wheelbarrow and knee stand involve two people. Group stunts include pyramids with multiple flyers and bases. Common individual stunts are described in detail, along with dual stunts like the handstand and group stunts including the full elevator and liberties. Stunts build skills and can be used for conditioning exercises or gymnastic introductions.
Power Point on Surya Namaskar by Chandra BhramdatBhramdat
油
The document outlines the steps of performing Surya Namaskar (sun salutation) and provides instructions for each pose. It describes the physical movements and body positioning for 12 poses in the sequence, including reaching arms overhead, bending at the waist to touch toes, bringing one knee to the floor while the other leg stretches back, coming into plank and cobra poses, and includes tips for deepening each stretch. The full sequence is described as providing personal benefits when practiced regularly.
Festival dances are cultural dances performed by communities to celebrate religious icons or events through movements, costumes, and instruments. They reflect the Filipino community's unity and resilience. The document discusses two kinds of festival dances - religious and secular - and provides examples of each. It also defines locomotor movements like walking and jumping, and non-locomotor movements like bending and twisting. Basic folk dance steps are outlined. Statistics are presented but not elaborated on.
This document provides instructions for different walking variations including toe walking, heel walking, and heel-to-toe walking. It describes how to perform each variation, listing the basic steps. Benefits of each variation are also outlined. For example, toe walking works muscles in the feet and can relieve foot and ankle pain. Heel walking mobilizes the ankles and improves stability. Heel-to-toe walking activates foot muscles while minimizing impact on heels and ankles. Proper walking posture is also discussed, emphasizing keeping the head up, back lengthened, shoulders relaxed, and swinging arms from the shoulders.
The document discusses the objectives and phases of a dance program. It outlines the fundamental positions used in dance including first, second, third, fourth and fifth positions. It also describes the basic natural movements in dance, distinguishing between locomotor movements that move the body in space and non-locomotor movements that involve movement with a fixed base. The phases of a dance program discussed are creative rhythms, folk/ethnic dance, social and ballroom dance, recreational dance, and creative dance.
There are two types of movements: locomotor and non-locomotor. Locomotor movements involve moving from place to place and include walking, running, hopping, jumping, leaping, galloping, sliding, and skipping. Non-locomotor movements are done in one place and involve movements like stretching, bending, twisting, turning, lifting, rotating, swinging, and swaying.
This document excerpt provides instructions for various parkour movement techniques including balance, quadrupedal movement, jumping, and landing. It describes how to maintain balance by focusing on a point in front of your feet and keeping knees slightly bent. Quadrupedal movement involves moving on all fours by alternating arm and leg movements. For jumping, it recommends landing on the balls of feet and bending knees to absorb impact without using arms.
This document provides information about festival dances in the Philippines. It explains that festival dances are cultural dances performed by communities to celebrate important events, such as religious figures or harvest seasons. The document outlines several important Filipino festivals and describes whether they are religious or secular in nature. It also discusses key elements of dance, including locomotor and non-locomotor movements, as well as concepts like rhythm, level, and direction. Students are assigned to create their own festival dance as a final performance for their physical education class.
This document discusses the elements of dance and provides examples. It defines dance as the art of movement using the body rhythmically, often to music. It identifies six core elements of dance: body, action, space, time, energy, and lists them in the acronym BASTE. Each element is simultaneously present in any dance movement. The document also provides definitions and examples of basic cheerleading motions including ready position, hand clasp, T motion, broken T, touchdown, V motion, and right/left punch. More advanced moves like L motion and right/left K are also explained.
The document provides step-by-step guides for the four major swimming strokes: freestyle, backstroke, breaststroke, and butterfly. For freestyle, the steps include maintaining a flat body position, alternating arm pulls and recoveries, turning the head to breathe, and using a flutter kick. For backstroke, the steps are to keep the body flat, use a flutter kick, perform long arm motions, breathe per arm cycle, and use visual cues to swim straight. Breaststroke involves gliding, pulling arms in and out, frog kicking, and touching the wall with both hands at breaststroke turns. Butterfly uses arm pulls, pushes and recoveries along with synchronized leg kicking.
This document discusses fundamental dance steps and movements in Philippine folk dances. It begins by naming several common folk dances from the Philippines such as Tinikling, Pandanggo sa Ilaw, and Itik-Itik. It then describes fundamental foot and hand positions as well as various movements of the hands, arms, and feet that are used in folk dances. These include turns, crosses, lifts, stamps, leaps, and slides. The document also covers dance movements done with a partner, such as facing each other, moving clockwise or counterclockwise, and holding hands or elbows. Finally, it defines other key terms used in folk dancing.
Folk dance reflects the traditional life of a certain country or region. The document describes several traditional Filipino folk dances and their characteristic movements. These include the kumintang where partners stand side by side with locked elbows, the abrasete where dancers raise their arms gracefully from side to side, and the bilao where partners pass each other while moving backward without turning around. The final dance described is the saludo where partners bow to each other, the audience, or opposite dancers to open or close a dance.
This document outlines Tony Retrosi's plan for daily basics warmups at his gymnastics training centers. The basics are intended to continue warming up the body, prepare athletes for events, and set the tone for workouts. The plan includes basics for tumbling, dance, beam, bars, and each event. Exercises focus on handstands, rolls, body positions, and movement in different directions and on different sides. The coach provides tips like keeping it simple, moving around to see all athletes, and ensuring good form. The daily basics session varies slightly in focus but always includes active warmups and fundamentals for each apparatus.
The document provides instructions for performing a ballet leg, a signature move in synchronized swimming. It outlines three steps: starting in a back layout position, bending one knee so the toe slides up the straight leg, and then straightening into a full ballet leg position. It emphasizes keeping the body straight, sculling the hips to move through the water, and pointing the toes throughout. Practice is key to improving ballet legs over time.
This document provides instructions for fundamental positions and figures for physical education lessons and the Tinikling folk dance. It describes 5 basic positions for feet, including heels together and toes apart at a 45 degree angle. It also provides diagrams and steps for 8 figures of the Tinikling dance performed with bamboo poles. The text explains that two dancers start with poles on their left sides and take steps to the right side of the poles.
DEMONSTRATE PROPER ETIQUETTE & SAFETY IN THE USE OF FACILITIES & EQUIPMENT LEVIDEL
油
This document provides an overview of ballroom dance etiquette and technique. It discusses key etiquette points like dancing in a counter-clockwise direction on the dance floor, apologizing if contact is made with another dancer, and keeping conversation off the dance floor. It also covers choosing attire and shoes that are appropriate for dancesport competitions and techniques like maintaining proper hygiene. Warm-up exercises are presented like walking knee lifts, lunges, and foot rotations to prevent injury and properly prepare the body for dancing.
This document provides information on various hip-hop dance styles including breaking, popping, locking, house dance, voguing, and others. It describes the key elements and movements of each style. For example, it notes that breaking evolved from b-boying and includes toprock, downrock, power moves, and freezes. Popping involves body isolation and contractions to create a jerky effect. Voguing was created by the gay community and imitates model poses from magazines.
Gymnastics stunts can be individual, dual, or group activities. Individual stunts are performed solo and test flexibility, balance, and strength. Examples include the turk stand, rocking chair, and ankle hold walk. Dual stunts involve two people, like the wheelbarrow and double feet walk. Group stunts have three or more participants and can be more complex, such as the full elevator, liberties, and pyramids. Stunts are used to build skills and condition the body for gymnastics and tumbling.
Gymnastics stunts can be individual, dual, or group activities. Individual stunts like the turk stand, rocking chair, and prone rocking test flexibility, balance, and strength. Dual stunts such as the wheelbarrow and knee stand involve two people. Group stunts include pyramids with multiple flyers and bases. Common individual stunts are described in detail, along with dual stunts like the handstand and group stunts including the full elevator and liberties. Stunts build skills and can be used for conditioning exercises or gymnastic introductions.
Power Point on Surya Namaskar by Chandra BhramdatBhramdat
油
The document outlines the steps of performing Surya Namaskar (sun salutation) and provides instructions for each pose. It describes the physical movements and body positioning for 12 poses in the sequence, including reaching arms overhead, bending at the waist to touch toes, bringing one knee to the floor while the other leg stretches back, coming into plank and cobra poses, and includes tips for deepening each stretch. The full sequence is described as providing personal benefits when practiced regularly.
Festival dances are cultural dances performed by communities to celebrate religious icons or events through movements, costumes, and instruments. They reflect the Filipino community's unity and resilience. The document discusses two kinds of festival dances - religious and secular - and provides examples of each. It also defines locomotor movements like walking and jumping, and non-locomotor movements like bending and twisting. Basic folk dance steps are outlined. Statistics are presented but not elaborated on.
This document provides instructions for different walking variations including toe walking, heel walking, and heel-to-toe walking. It describes how to perform each variation, listing the basic steps. Benefits of each variation are also outlined. For example, toe walking works muscles in the feet and can relieve foot and ankle pain. Heel walking mobilizes the ankles and improves stability. Heel-to-toe walking activates foot muscles while minimizing impact on heels and ankles. Proper walking posture is also discussed, emphasizing keeping the head up, back lengthened, shoulders relaxed, and swinging arms from the shoulders.
The document discusses the objectives and phases of a dance program. It outlines the fundamental positions used in dance including first, second, third, fourth and fifth positions. It also describes the basic natural movements in dance, distinguishing between locomotor movements that move the body in space and non-locomotor movements that involve movement with a fixed base. The phases of a dance program discussed are creative rhythms, folk/ethnic dance, social and ballroom dance, recreational dance, and creative dance.
There are two types of movements: locomotor and non-locomotor. Locomotor movements involve moving from place to place and include walking, running, hopping, jumping, leaping, galloping, sliding, and skipping. Non-locomotor movements are done in one place and involve movements like stretching, bending, twisting, turning, lifting, rotating, swinging, and swaying.
This document excerpt provides instructions for various parkour movement techniques including balance, quadrupedal movement, jumping, and landing. It describes how to maintain balance by focusing on a point in front of your feet and keeping knees slightly bent. Quadrupedal movement involves moving on all fours by alternating arm and leg movements. For jumping, it recommends landing on the balls of feet and bending knees to absorb impact without using arms.
This document provides information about festival dances in the Philippines. It explains that festival dances are cultural dances performed by communities to celebrate important events, such as religious figures or harvest seasons. The document outlines several important Filipino festivals and describes whether they are religious or secular in nature. It also discusses key elements of dance, including locomotor and non-locomotor movements, as well as concepts like rhythm, level, and direction. Students are assigned to create their own festival dance as a final performance for their physical education class.
This document discusses the elements of dance and provides examples. It defines dance as the art of movement using the body rhythmically, often to music. It identifies six core elements of dance: body, action, space, time, energy, and lists them in the acronym BASTE. Each element is simultaneously present in any dance movement. The document also provides definitions and examples of basic cheerleading motions including ready position, hand clasp, T motion, broken T, touchdown, V motion, and right/left punch. More advanced moves like L motion and right/left K are also explained.
The document provides step-by-step guides for the four major swimming strokes: freestyle, backstroke, breaststroke, and butterfly. For freestyle, the steps include maintaining a flat body position, alternating arm pulls and recoveries, turning the head to breathe, and using a flutter kick. For backstroke, the steps are to keep the body flat, use a flutter kick, perform long arm motions, breathe per arm cycle, and use visual cues to swim straight. Breaststroke involves gliding, pulling arms in and out, frog kicking, and touching the wall with both hands at breaststroke turns. Butterfly uses arm pulls, pushes and recoveries along with synchronized leg kicking.
SOCIAL CHANGE(a change in the institutional and normative structure of societ...DrNidhiAgarwal
油
This PPT is showing the effect of social changes in human life and it is very understandable to the students with easy language.in this contents are Itroduction, definition,Factors affecting social changes ,Main technological factors, Social change and stress , what is eustress and how social changes give impact of the human's life.
The Constitution, Government and Law making bodies .saanidhyapatel09
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This PowerPoint presentation provides an insightful overview of the Constitution, covering its key principles, features, and significance. It explains the fundamental rights, duties, structure of government, and the importance of constitutional law in governance. Ideal for students, educators, and anyone interested in understanding the foundation of a nations legal framework.
Useful environment methods in Odoo 18 - Odoo 際際滷sCeline George
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In this slide well discuss on the useful environment methods in Odoo 18. In Odoo 18, environment methods play a crucial role in simplifying model interactions and enhancing data processing within the ORM framework.
How to Modify Existing Web Pages in Odoo 18Celine George
油
In this slide, well discuss on how to modify existing web pages in Odoo 18. Web pages in Odoo 18 can also gather user data through user-friendly forms, encourage interaction through engaging features.
QuickBooks Desktop to QuickBooks Online How to Make the MoveTechSoup
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If you use QuickBooks Desktop and are stressing about moving to QuickBooks Online, in this webinar, get your questions answered and learn tips and tricks to make the process easier for you.
Key Questions:
* When is the best time to make the shift to QuickBooks Online?
* Will my current version of QuickBooks Desktop stop working?
* I have a really old version of QuickBooks. What should I do?
* I run my payroll in QuickBooks Desktop now. How is that affected?
*Does it bring over all my historical data? Are there things that don't come over?
* What are the main differences between QuickBooks Desktop and QuickBooks Online?
* And more
APM People Interest Network Conference 2025
-Autonomy, Teams and Tension: Projects under stress
-Tim Lyons
-The neurological levels of
team-working: Harmony and tensions
With a background in projects spanning more than 40 years, Tim Lyons specialised in the delivery of large, complex, multi-disciplinary programmes for clients including Crossrail, Network Rail, ExxonMobil, Siemens and in patent development. His first career was in broadcasting, where he designed and built commercial radio station studios in Manchester, Cardiff and Bristol, also working as a presenter and programme producer. Tim now writes and presents extensively on matters relating to the human and neurological aspects of projects, including communication, ethics and coaching. He holds a Masters degree in NLP, is an NLP Master Practitioner and International Coach. He is the Deputy Lead for APMs People Interest Network.
Session | The Neurological Levels of Team-working: Harmony and Tensions
Understanding how teams really work at conscious and unconscious levels is critical to a harmonious workplace. This session uncovers what those levels are, how to use them to detect and avoid tensions and how to smooth the management of change by checking you have considered all of them.
Information Technology for class X CBSE skill SubjectVEENAKSHI PATHAK
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These questions are based on cbse booklet for 10th class information technology subject code 402. these questions are sufficient for exam for first lesion. This subject give benefit to students and good marks. if any student weak in one main subject it can replace with these marks.
Mate, a short story by Kate Grenvile.pptxLiny Jenifer
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A powerpoint presentation on the short story Mate by Kate Greenville. This presentation provides information on Kate Greenville, a character list, plot summary and critical analysis of the short story.
Database population in Odoo 18 - Odoo slidesCeline George
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In this slide, well discuss the database population in Odoo 18. In Odoo, performance analysis of the source code is more important. Database population is one of the methods used to analyze the performance of our code.
How to attach file using upload button Odoo 18Celine George
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In this slide, well discuss on how to attach file using upload button Odoo 18. Odoo features a dedicated model, 'ir.attachments,' designed for storing attachments submitted by end users. We can see the process of utilizing the 'ir.attachments' model to enable file uploads through web forms in this slide.
APM People Interest Network Conference 2025
- Autonomy, Teams and Tension
- Oliver Randall & David Bovis
- Own Your Autonomy
Oliver Randall
Consultant, Tribe365
Oliver is a career project professional since 2011 and started volunteering with APM in 2016 and has since chaired the People Interest Network and the North East Regional Network. Oliver has been consulting in culture, leadership and behaviours since 2019 and co-developed HPTM速an off the shelf high performance framework for teams and organisations and is currently working with SAS (Stellenbosch Academy for Sport) developing the culture, leadership and behaviours framework for future elite sportspeople whilst also holding down work as a project manager in the NHS at North Tees and Hartlepool Foundation Trust.
David Bovis
Consultant, Duxinaroe
A Leadership and Culture Change expert, David is the originator of BTFA and The Dux Model.
With a Masters in Applied Neuroscience from the Institute of Organisational Neuroscience, he is widely regarded as the Go-To expert in the field, recognised as an inspiring keynote speaker and change strategist.
He has an industrial engineering background, majoring in TPS / Lean. David worked his way up from his apprenticeship to earn his seat at the C-suite table. His career spans several industries, including Automotive, Aerospace, Defence, Space, Heavy Industries and Elec-Mech / polymer contract manufacture.
Published in Londons Evening Standard quarterly business supplement, James Caans Your business Magazine, Quality World, the Lean Management Journal and Cambridge Universities PMA, he works as comfortably with leaders from FTSE and Fortune 100 companies as he does owner-managers in SMEs. He is passionate about helping leaders understand the neurological root cause of a high-performance culture and sustainable change, in business.
Session | Own Your Autonomy The Importance of Autonomy in Project Management
#OwnYourAutonomy is aiming to be a global APM initiative to position everyone to take a more conscious role in their decision making process leading to increased outcomes for everyone and contribute to a world in which all projects succeed.
We want everyone to join the journey.
#OwnYourAutonomy is the culmination of 3 years of collaborative exploration within the Leadership Focus Group which is part of the APM People Interest Network. The work has been pulled together using the 5 HPTM速 Systems and the BTFA neuroscience leadership programme.
https://www.linkedin.com/showcase/apm-people-network/about/
Blind Spots in AI and Formulation Science Knowledge Pyramid (Updated Perspect...Ajaz Hussain
油
This presentation delves into the systemic blind spots within pharmaceutical science and regulatory systems, emphasizing the significance of "inactive ingredients" and their influence on therapeutic equivalence. These blind spots, indicative of normalized systemic failures, go beyond mere chance occurrences and are ingrained deeply enough to compromise decision-making processes and erode trust.
Historical instances like the 1938 FD&C Act and the Generic Drug Scandals underscore how crisis-triggered reforms often fail to address the fundamental issues, perpetuating inefficiencies and hazards.
The narrative advocates a shift from reactive crisis management to proactive, adaptable systems prioritizing continuous enhancement. Key hurdles involve challenging outdated assumptions regarding bioavailability, inadequately funded research ventures, and the impact of vague language in regulatory frameworks.
The rise of large language models (LLMs) presents promising solutions, albeit with accompanying risks necessitating thorough validation and seamless integration.
Tackling these blind spots demands a holistic approach, embracing adaptive learning and a steadfast commitment to self-improvement. By nurturing curiosity, refining regulatory terminology, and judiciously harnessing new technologies, the pharmaceutical sector can progress towards better public health service delivery and ensure the safety, efficacy, and real-world impact of drug products.
Blind Spots in AI and Formulation Science Knowledge Pyramid (Updated Perspect...Ajaz Hussain
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UNIT 3 MAPEH 6 LESSON 1 DANCE TERMS, STEPS AND DIRECTION- PE.pptx
6. The vis--vis (Opposites) both advanced
forward, pass each others right (or left)
side, step across to the right (or Left), move
backward without turning around pass each
others left (or right) side to proper places.
This is of foreign origin and is used in many
Philippine dances.
7. FREE FOOT
The foot not
bearing the
weight of the
body.
FREE HAND
The hand not
placed
anywhere
or not doing
anything.
8. HAYON HAYON
To place one forearm in
front and the other at the
back of the waist. This
is a visayan term.
10. KUMINTANG
Moving the hand from the wrist
either in a clockwise or
counterclockwise direction. This is
an Ilocano term.
11. LEAP
Spring on the supporting foot and
land on both feet.
A spring from one foot, landing
on the other foot in any direction
(forward, sideward, backward or
oblique)
12. OUTSIDE
FOOT
The foot away
from ones
partner, when
partners stand
side by side.
OUTSIDE
HAND
The hand
away from ones
partner, when
partners stand
side by side.
13. POINT
Touch the floor lightly with
the toes of one foot, weight
of the body on the other foot.
14. 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.
15. SLIDE
To glide smoothly along
the floor. The movement
may be finished with or
without transfer to weight.
16. STAMP
To bring down the foot forcibly
and noisily on the floor (Like
doing a heavy step) with or
without transfer of weight.
19. BASIC DANCE STEP IN 2/4
TIME SIGNATURE
Dance Step Step Pattern
A. Ct. 1 2 = M
Touch Step Point, Close
Blecking Step Heel, Place, Close
Close Step Step, Close
Hop Step Step, Hop
際際滷 Step 際際滷, Close
Cross Step Step, Cross or Cross Step
20. Basic Dance Step in 2/4 Time
Signature
Dance Step Step Pattern
B. Ct. 1 and 2 = M
Change Step Step, Close, Step
Cross and
Change Step
Cross-step,
Close Step
Contraganza Leap, Cross-
step, Step
21. Basic Dance Step in 2/4 Time
Signature
Dance Step Step Pattern
C. Ct. 1 2 and = M
Habanera Step Step, Close, Step
D. Ct. and 1 and 2= 1M
Plain Polka Raise-Step,
Close, Step
Hop Polka Hop-Step,
Close, Step
22. Basic Dance Step in 2/4 Time
Signature
Dance Step Step Pattern
D. Ct. 1 and 2(do as many times as desired)
Mincing Step With the heels raise,
take as many as desired
Shuffling Step With both feet flat on
the floor
, take tiny slide
step
24. BASIC DANCE STEP IN 3/4 TIME
SIGNATURE
Dance Step Step Pattern
A. Ct. 1 2 3 = M
Native Waltz Step, Close, Step
Cross Waltz Cross-Step,Close,Step
Waltz Balance Step,Close-Heels
raise,Heels
down
Mazurka Step 際際滷,cut, Hop
Redoba Step 際際滷, Cut, Cut
25. BASIC DANCE STEP IN 3/4 TIME
SIGNATURE
Dance Step Step Pattern
A. Ct. 12.3/1.23 = M
Sway balance w/ a point Step, Cross-step,step point
Sway balance w/ a hop Step, Cross-step,step hop
Sway balance w/ a waltz Step, Cross-step,step
close step
27. BASIC DANCE STEP IN 4/4 TIME
SIGNATURE
Dance Step Step Pattern
A. Ct. 1 2 3 4 = M
Schottische Step Step, Close, Step, Hop
(raise foot in front)
Escotis Step Step, close, step, hop
(raise foot in rear)
Chotis Step Brush, raise, brush,
raise/ Step, step,step,
close