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181
Grade 8 Learning Materials Under the K to 12 Curriculum
MAPEH Grade 8
Physical Education Fourth Quarter
Regional and National Dances with Asian Influence
INTRODUCTION
Kumusta Naimbag nga aldaw Maayong buntag Como esta usted Assalam
Malaykum Hello Grade 8 learners Howrsquos your day I hope that you are as strong
energetic athletic and competitive as ever because for all you know you will be
needing all your strengths for the activities found in this module
When you were in Grade 7 you have learned to perform examples of local
and Indigenous dances You also learned to value them in order to maintain good
health and eventually realized that folk dancing is indeed a good recreational activity
Just like any other sports or games dancing is also a physical activity that can
promote lifelong fitness and wellness It is a good source of exercise that could help
develop grace and poise It can even help in maintaining good health as it highlights
health-related fitness components such as cardio-vascular endurance flexibility and
strength
With the effect of acculturation indigenous dances of the Philippines may
have been modified since the culture of other countries has influenced our very own
dances This is evident in the western style adopted in our folk dances Along with
this are the influences of our Asian neighbors that have enriched our national dances
to a large extent It is for this reason why there is a need for you to understand our
cultural rootby learning our dances
This module will introduce you to the different regional and national folk
dances of the Philippines with influences from other Asian countries We are part of
the on going history of trade and industry and that part and parcel are influences
retained in us like textiles color of fabrics and design reflected in the costumes of
the dance
Furthermore this module anchors its framework on the holistic approach of
using regional and national dances as potent sources for staying healthy and fit At
the same time they are prime educational tools for learners like you
182
OBJECTIVES
At the end of the lesson you should be able to
discuss the origin and location of folk dance through its costume and music
execute selected regional and national dances with Asian influences such
as the Binislakan Sakuting Sua-ko-Sua and Pangalay
demonstrate the dance sequence appropriately
identify the meaning of the gestures and hand movements of the dance selected
approximate interpretation of the dance literature
promote folk dancing as a physical activity for the family
Pre- Assessment
To check how ready you are on in terms of familiarity to dances with Asian
influence here are some basic ideas or concepts which will lead you to answer
queries relative to performing these regional and national dances Part I- Examine the following pictures and anwer the accompanying questions
183
1 What general concept can be derived from the given pictures Explain
2 If you were to think of Asian countries that would closely relate to the given
pictures what countries could that be Justify your answer
3 Are these dances influenced by other countries Prove your point
4 Just by simply looking at their costumes and props can you give the place of
origin of these dances What are your proofs to say so
5 Can you give a storyline for each of these dances just by looking at their poses costumes and props
6 Is there a need for proper expression in folk dancing Does it speak of something
7 Can you name examples of Philippine folk dances that have Asian influence Can you demonstrate examples of foreign folk steps What are their step patterns
8 What are the implements that are commonly used in folk dances with Asian influence What are they for
9 Can you explain the effects of acculturation in the country based on the kind of dances we have
(Example I expect that at the end of this lesson I will be able to identify and learn examples of regional and national folk dances with Asian influence)
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
After finishing the test you are now ready to face the Learning Goals and Targets of this module As a grade 8 learner what are your expectations Write in your activity sheet your own learning goals in relation to this subject One example of learning goal is basis in making your own
184
Learning Goal Describe and discuss the nature and characteristics of the dances Philippine folk dances speak so much about the heartbeat of our people for they tell about our customs ideas beliefs superstitions and events of daily living in a certain communityJust by looking at the costumes props and implements of a certain group or tribe would tell you of the origin of the dance The kind of music being used readily also tell about the influences brought about by trade and settlement of our neighboring countries such as China Malaysia Indonesia Burma Cambodia Thailand and Japan to name a few Truly evident is the effect of acculturation in the country as manifested by the kinds of costumes props music and dance steps that are used and integrated in to some of our regional and national folk dances The use of gongs kulintangs and the incorporation of pentatonic scale to our musical compositions are just concrete proofs of acculturation in the country These are the reasons why Philippine folk dances contribute to the very rich culture of the country The following historical backgrounds and context of the dance literatures of Binislakan Sakuting Sua-ku-Sua and Pangalay would give you a clear picture of the nature and background of these regional and national folk dances This will help you
LESSON I
Now that you have written your personal goals and targets you may now procede to the next level which is a gateway for you to get acquianted with the basics in folk dancing So enjoy your journey as you unravel the origin and historical background of the regional and national folk dances with Asian influence Your journey starts now Goodluck
PART I WHAT TO KNOW
185
understand its significance and cultural value including the beauty and complexity of the peoplersquos lives living in those places Study these dances carefully and imbibe in you their importance to the development of cultural value
BINISLAKAN (Lingayen)
Dance Researcher Francisca Reyes
Meaning With the use of sticks
Dance Culture Christian Lowland
Place of Origin Pangasinan
Country of Influence China
Ethno-linguistic Group Pangasinense
Classification Social Dance
wwwkalilayancom
Background
Lingayen in Pangasinan means having to look backward and upward It was
derived from ldquoLi-King-Tungrdquo a Chinese word given to the name Lingayen the capital
of Pangasinan by the Chinese settlers of this place a long time ago The barrio folks
who lived at Almazin a small place between barrio Pangasinan (Pulong) and
Maniboc danced this to commemorate the stay of Limahong a Chinese pirate who
built his kingdom here
The dancers look backward or upward in some of the movements hence the
name Lingayen They also use two sticks to produce rhythms imitating the
chopsticks used by the Chinese in eating so the dance is also called Binislakan
which in Pangasinan means with the use of sticks
186
Dance Properties
Costume
Female Siesgo and kimono with loose and long
sleeves and soft panuelo
Male Camisa de Chino and red pants
Music 24 composed of two parts A and B
Count One two one and two and one and two and
Formation Partners stand about six feet apart One or more pairs in
a set can take part in the dance in any formation
desired
SUA-KU-SUA
Dance Researcher Ramon A Obusan
Meaning My Pomelo Tree
Dance Culture Lowland Muslim (Coastal)
Place of Origin Jolo Sulu
Country of Influence China Malaysia and Indonesia
Ethno-linguistic Group Tausug
Classification Courtship Dance
Source wwwkalilayancom
187
BackgroundContext
The Tausug of Sulu Southern Philippines though known as fearsome
warriors are also better known as sturdy seafarers and hardy farmers Extensive
orchards are planted with coconuts and pomelos and fields with staples like rice and
root crops
At harvest time pomelo fruits are gathered in big baskets before they are sent
away The Tausugs depend strongly on the income the pomelo bring them and this
relationship is romanticized by comparing the suarsquos gentle leaves slender branches
attractive fruits and fragrant flowers to the virtues of a lady Put to music it is this
song that is sang by couples while flapping two white fans each resembling leaves
rustling in the wind in the Sua-Ku-Sua Dance
Sua-ku-sua performers some men but especially women come to the
festivities with face thickly covered with finely ground rice powder and their eyebrows
and sideburns enhanced with soot- all for beautyrsquos sake
MovementsSteps Particular to Dance
Creative imagery Fans transform into tiny sails face mirrors butterflies
shields and leaves Tausug traditional steps with Chinese influence
Dance Properties
Costume
Female
Top (Barawasi) Traditional loose blouse long sleeves wit
deep plunging key-hole neckline
Extra panels attached to the right and left
chest decorated with many tiny brass
buttons
Material Cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Loose Chinese pants with a 10-inch soft
white band
(coco curdo) attached to a wide waist To
tuck the pants in the white band is
overlapped in front one side on top of the
other and rolled out to form a tight belt
Material Cheap Chinese silk or any silky material
preferably in navy blue sunshine yellow
grass green red or orange colors
188
Shoulder band (Siyag) A separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left
side
Headpiece
There are three choices
1 Gold or brass filigree called tusuk 2 Paper bills pasted on slender sticks and 3 Pasteboard cut-out the front tip 8 to 10 inches high
similar to Chinese crowns covered with gold foil
Accessories Gold or imitation gold earrings necklace
bracelets and brooches
Suggested Footwear Dancers are in barefoot
Male
Top (Bajo) Short-waist collarless shirt Open at the
front with the right panel overlapping the
left studded with many tiny brass buttons
and is not intended to close the front but
used as an additional shirt decoration It is
allowed to drop on the right side
Material cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Similar to the female pants but in darker
colors and bolder designs
Accessories Money-belt Sarok hat pis siyabit
(rectangular hand-woven scarf tied on
the head or hung loosely over one
shoulder) Kris (wavy knife) or Barong (leaf-
knife)
Suggested Footwear dancers are in barefoot
Music 24 and 44 composed of three parts A B and
C Gabbang- bamboo xylophone shaped
like a small boat Bamboo slats thinned
and cut to graduated sizes to produce three
octaves of pentatonic scale
Count 1 2 to a measure in 24 time signature
1 2 3 4 to a measure in 44 time
signature
189
PANGALAY
Dance Researcher Francisca Reyes-Aquino
Meaning Finger nail
Dance Culture Lowland Muslim (Coastal)
Place of Origin Sulu
Country of Influence Thailand Malaysia Burma Cambodia and
Indonesia
Ethno-linguistic Group Tausug
Classification Social Dance
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1
BackgroundContext
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional ldquofingernailrdquo dance of the Tausūg people of the Sulu Archipelago and
Sabah[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders elbows
and wrists[2] ndash movements that strongly resemble those of ldquokontaw silatrdquo a martial art
common in the Malay Archipelago The Pangalay is performed mainly during
weddings or other festive events [1] The male equivalent of the Pangalay is
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
182
OBJECTIVES
At the end of the lesson you should be able to
discuss the origin and location of folk dance through its costume and music
execute selected regional and national dances with Asian influences such
as the Binislakan Sakuting Sua-ko-Sua and Pangalay
demonstrate the dance sequence appropriately
identify the meaning of the gestures and hand movements of the dance selected
approximate interpretation of the dance literature
promote folk dancing as a physical activity for the family
Pre- Assessment
To check how ready you are on in terms of familiarity to dances with Asian
influence here are some basic ideas or concepts which will lead you to answer
queries relative to performing these regional and national dances Part I- Examine the following pictures and anwer the accompanying questions
183
1 What general concept can be derived from the given pictures Explain
2 If you were to think of Asian countries that would closely relate to the given
pictures what countries could that be Justify your answer
3 Are these dances influenced by other countries Prove your point
4 Just by simply looking at their costumes and props can you give the place of
origin of these dances What are your proofs to say so
5 Can you give a storyline for each of these dances just by looking at their poses costumes and props
6 Is there a need for proper expression in folk dancing Does it speak of something
7 Can you name examples of Philippine folk dances that have Asian influence Can you demonstrate examples of foreign folk steps What are their step patterns
8 What are the implements that are commonly used in folk dances with Asian influence What are they for
9 Can you explain the effects of acculturation in the country based on the kind of dances we have
(Example I expect that at the end of this lesson I will be able to identify and learn examples of regional and national folk dances with Asian influence)
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
After finishing the test you are now ready to face the Learning Goals and Targets of this module As a grade 8 learner what are your expectations Write in your activity sheet your own learning goals in relation to this subject One example of learning goal is basis in making your own
184
Learning Goal Describe and discuss the nature and characteristics of the dances Philippine folk dances speak so much about the heartbeat of our people for they tell about our customs ideas beliefs superstitions and events of daily living in a certain communityJust by looking at the costumes props and implements of a certain group or tribe would tell you of the origin of the dance The kind of music being used readily also tell about the influences brought about by trade and settlement of our neighboring countries such as China Malaysia Indonesia Burma Cambodia Thailand and Japan to name a few Truly evident is the effect of acculturation in the country as manifested by the kinds of costumes props music and dance steps that are used and integrated in to some of our regional and national folk dances The use of gongs kulintangs and the incorporation of pentatonic scale to our musical compositions are just concrete proofs of acculturation in the country These are the reasons why Philippine folk dances contribute to the very rich culture of the country The following historical backgrounds and context of the dance literatures of Binislakan Sakuting Sua-ku-Sua and Pangalay would give you a clear picture of the nature and background of these regional and national folk dances This will help you
LESSON I
Now that you have written your personal goals and targets you may now procede to the next level which is a gateway for you to get acquianted with the basics in folk dancing So enjoy your journey as you unravel the origin and historical background of the regional and national folk dances with Asian influence Your journey starts now Goodluck
PART I WHAT TO KNOW
185
understand its significance and cultural value including the beauty and complexity of the peoplersquos lives living in those places Study these dances carefully and imbibe in you their importance to the development of cultural value
BINISLAKAN (Lingayen)
Dance Researcher Francisca Reyes
Meaning With the use of sticks
Dance Culture Christian Lowland
Place of Origin Pangasinan
Country of Influence China
Ethno-linguistic Group Pangasinense
Classification Social Dance
wwwkalilayancom
Background
Lingayen in Pangasinan means having to look backward and upward It was
derived from ldquoLi-King-Tungrdquo a Chinese word given to the name Lingayen the capital
of Pangasinan by the Chinese settlers of this place a long time ago The barrio folks
who lived at Almazin a small place between barrio Pangasinan (Pulong) and
Maniboc danced this to commemorate the stay of Limahong a Chinese pirate who
built his kingdom here
The dancers look backward or upward in some of the movements hence the
name Lingayen They also use two sticks to produce rhythms imitating the
chopsticks used by the Chinese in eating so the dance is also called Binislakan
which in Pangasinan means with the use of sticks
186
Dance Properties
Costume
Female Siesgo and kimono with loose and long
sleeves and soft panuelo
Male Camisa de Chino and red pants
Music 24 composed of two parts A and B
Count One two one and two and one and two and
Formation Partners stand about six feet apart One or more pairs in
a set can take part in the dance in any formation
desired
SUA-KU-SUA
Dance Researcher Ramon A Obusan
Meaning My Pomelo Tree
Dance Culture Lowland Muslim (Coastal)
Place of Origin Jolo Sulu
Country of Influence China Malaysia and Indonesia
Ethno-linguistic Group Tausug
Classification Courtship Dance
Source wwwkalilayancom
187
BackgroundContext
The Tausug of Sulu Southern Philippines though known as fearsome
warriors are also better known as sturdy seafarers and hardy farmers Extensive
orchards are planted with coconuts and pomelos and fields with staples like rice and
root crops
At harvest time pomelo fruits are gathered in big baskets before they are sent
away The Tausugs depend strongly on the income the pomelo bring them and this
relationship is romanticized by comparing the suarsquos gentle leaves slender branches
attractive fruits and fragrant flowers to the virtues of a lady Put to music it is this
song that is sang by couples while flapping two white fans each resembling leaves
rustling in the wind in the Sua-Ku-Sua Dance
Sua-ku-sua performers some men but especially women come to the
festivities with face thickly covered with finely ground rice powder and their eyebrows
and sideburns enhanced with soot- all for beautyrsquos sake
MovementsSteps Particular to Dance
Creative imagery Fans transform into tiny sails face mirrors butterflies
shields and leaves Tausug traditional steps with Chinese influence
Dance Properties
Costume
Female
Top (Barawasi) Traditional loose blouse long sleeves wit
deep plunging key-hole neckline
Extra panels attached to the right and left
chest decorated with many tiny brass
buttons
Material Cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Loose Chinese pants with a 10-inch soft
white band
(coco curdo) attached to a wide waist To
tuck the pants in the white band is
overlapped in front one side on top of the
other and rolled out to form a tight belt
Material Cheap Chinese silk or any silky material
preferably in navy blue sunshine yellow
grass green red or orange colors
188
Shoulder band (Siyag) A separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left
side
Headpiece
There are three choices
1 Gold or brass filigree called tusuk 2 Paper bills pasted on slender sticks and 3 Pasteboard cut-out the front tip 8 to 10 inches high
similar to Chinese crowns covered with gold foil
Accessories Gold or imitation gold earrings necklace
bracelets and brooches
Suggested Footwear Dancers are in barefoot
Male
Top (Bajo) Short-waist collarless shirt Open at the
front with the right panel overlapping the
left studded with many tiny brass buttons
and is not intended to close the front but
used as an additional shirt decoration It is
allowed to drop on the right side
Material cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Similar to the female pants but in darker
colors and bolder designs
Accessories Money-belt Sarok hat pis siyabit
(rectangular hand-woven scarf tied on
the head or hung loosely over one
shoulder) Kris (wavy knife) or Barong (leaf-
knife)
Suggested Footwear dancers are in barefoot
Music 24 and 44 composed of three parts A B and
C Gabbang- bamboo xylophone shaped
like a small boat Bamboo slats thinned
and cut to graduated sizes to produce three
octaves of pentatonic scale
Count 1 2 to a measure in 24 time signature
1 2 3 4 to a measure in 44 time
signature
189
PANGALAY
Dance Researcher Francisca Reyes-Aquino
Meaning Finger nail
Dance Culture Lowland Muslim (Coastal)
Place of Origin Sulu
Country of Influence Thailand Malaysia Burma Cambodia and
Indonesia
Ethno-linguistic Group Tausug
Classification Social Dance
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1
BackgroundContext
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional ldquofingernailrdquo dance of the Tausūg people of the Sulu Archipelago and
Sabah[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders elbows
and wrists[2] ndash movements that strongly resemble those of ldquokontaw silatrdquo a martial art
common in the Malay Archipelago The Pangalay is performed mainly during
weddings or other festive events [1] The male equivalent of the Pangalay is
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
183
1 What general concept can be derived from the given pictures Explain
2 If you were to think of Asian countries that would closely relate to the given
pictures what countries could that be Justify your answer
3 Are these dances influenced by other countries Prove your point
4 Just by simply looking at their costumes and props can you give the place of
origin of these dances What are your proofs to say so
5 Can you give a storyline for each of these dances just by looking at their poses costumes and props
6 Is there a need for proper expression in folk dancing Does it speak of something
7 Can you name examples of Philippine folk dances that have Asian influence Can you demonstrate examples of foreign folk steps What are their step patterns
8 What are the implements that are commonly used in folk dances with Asian influence What are they for
9 Can you explain the effects of acculturation in the country based on the kind of dances we have
(Example I expect that at the end of this lesson I will be able to identify and learn examples of regional and national folk dances with Asian influence)
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
After finishing the test you are now ready to face the Learning Goals and Targets of this module As a grade 8 learner what are your expectations Write in your activity sheet your own learning goals in relation to this subject One example of learning goal is basis in making your own
184
Learning Goal Describe and discuss the nature and characteristics of the dances Philippine folk dances speak so much about the heartbeat of our people for they tell about our customs ideas beliefs superstitions and events of daily living in a certain communityJust by looking at the costumes props and implements of a certain group or tribe would tell you of the origin of the dance The kind of music being used readily also tell about the influences brought about by trade and settlement of our neighboring countries such as China Malaysia Indonesia Burma Cambodia Thailand and Japan to name a few Truly evident is the effect of acculturation in the country as manifested by the kinds of costumes props music and dance steps that are used and integrated in to some of our regional and national folk dances The use of gongs kulintangs and the incorporation of pentatonic scale to our musical compositions are just concrete proofs of acculturation in the country These are the reasons why Philippine folk dances contribute to the very rich culture of the country The following historical backgrounds and context of the dance literatures of Binislakan Sakuting Sua-ku-Sua and Pangalay would give you a clear picture of the nature and background of these regional and national folk dances This will help you
LESSON I
Now that you have written your personal goals and targets you may now procede to the next level which is a gateway for you to get acquianted with the basics in folk dancing So enjoy your journey as you unravel the origin and historical background of the regional and national folk dances with Asian influence Your journey starts now Goodluck
PART I WHAT TO KNOW
185
understand its significance and cultural value including the beauty and complexity of the peoplersquos lives living in those places Study these dances carefully and imbibe in you their importance to the development of cultural value
BINISLAKAN (Lingayen)
Dance Researcher Francisca Reyes
Meaning With the use of sticks
Dance Culture Christian Lowland
Place of Origin Pangasinan
Country of Influence China
Ethno-linguistic Group Pangasinense
Classification Social Dance
wwwkalilayancom
Background
Lingayen in Pangasinan means having to look backward and upward It was
derived from ldquoLi-King-Tungrdquo a Chinese word given to the name Lingayen the capital
of Pangasinan by the Chinese settlers of this place a long time ago The barrio folks
who lived at Almazin a small place between barrio Pangasinan (Pulong) and
Maniboc danced this to commemorate the stay of Limahong a Chinese pirate who
built his kingdom here
The dancers look backward or upward in some of the movements hence the
name Lingayen They also use two sticks to produce rhythms imitating the
chopsticks used by the Chinese in eating so the dance is also called Binislakan
which in Pangasinan means with the use of sticks
186
Dance Properties
Costume
Female Siesgo and kimono with loose and long
sleeves and soft panuelo
Male Camisa de Chino and red pants
Music 24 composed of two parts A and B
Count One two one and two and one and two and
Formation Partners stand about six feet apart One or more pairs in
a set can take part in the dance in any formation
desired
SUA-KU-SUA
Dance Researcher Ramon A Obusan
Meaning My Pomelo Tree
Dance Culture Lowland Muslim (Coastal)
Place of Origin Jolo Sulu
Country of Influence China Malaysia and Indonesia
Ethno-linguistic Group Tausug
Classification Courtship Dance
Source wwwkalilayancom
187
BackgroundContext
The Tausug of Sulu Southern Philippines though known as fearsome
warriors are also better known as sturdy seafarers and hardy farmers Extensive
orchards are planted with coconuts and pomelos and fields with staples like rice and
root crops
At harvest time pomelo fruits are gathered in big baskets before they are sent
away The Tausugs depend strongly on the income the pomelo bring them and this
relationship is romanticized by comparing the suarsquos gentle leaves slender branches
attractive fruits and fragrant flowers to the virtues of a lady Put to music it is this
song that is sang by couples while flapping two white fans each resembling leaves
rustling in the wind in the Sua-Ku-Sua Dance
Sua-ku-sua performers some men but especially women come to the
festivities with face thickly covered with finely ground rice powder and their eyebrows
and sideburns enhanced with soot- all for beautyrsquos sake
MovementsSteps Particular to Dance
Creative imagery Fans transform into tiny sails face mirrors butterflies
shields and leaves Tausug traditional steps with Chinese influence
Dance Properties
Costume
Female
Top (Barawasi) Traditional loose blouse long sleeves wit
deep plunging key-hole neckline
Extra panels attached to the right and left
chest decorated with many tiny brass
buttons
Material Cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Loose Chinese pants with a 10-inch soft
white band
(coco curdo) attached to a wide waist To
tuck the pants in the white band is
overlapped in front one side on top of the
other and rolled out to form a tight belt
Material Cheap Chinese silk or any silky material
preferably in navy blue sunshine yellow
grass green red or orange colors
188
Shoulder band (Siyag) A separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left
side
Headpiece
There are three choices
1 Gold or brass filigree called tusuk 2 Paper bills pasted on slender sticks and 3 Pasteboard cut-out the front tip 8 to 10 inches high
similar to Chinese crowns covered with gold foil
Accessories Gold or imitation gold earrings necklace
bracelets and brooches
Suggested Footwear Dancers are in barefoot
Male
Top (Bajo) Short-waist collarless shirt Open at the
front with the right panel overlapping the
left studded with many tiny brass buttons
and is not intended to close the front but
used as an additional shirt decoration It is
allowed to drop on the right side
Material cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Similar to the female pants but in darker
colors and bolder designs
Accessories Money-belt Sarok hat pis siyabit
(rectangular hand-woven scarf tied on
the head or hung loosely over one
shoulder) Kris (wavy knife) or Barong (leaf-
knife)
Suggested Footwear dancers are in barefoot
Music 24 and 44 composed of three parts A B and
C Gabbang- bamboo xylophone shaped
like a small boat Bamboo slats thinned
and cut to graduated sizes to produce three
octaves of pentatonic scale
Count 1 2 to a measure in 24 time signature
1 2 3 4 to a measure in 44 time
signature
189
PANGALAY
Dance Researcher Francisca Reyes-Aquino
Meaning Finger nail
Dance Culture Lowland Muslim (Coastal)
Place of Origin Sulu
Country of Influence Thailand Malaysia Burma Cambodia and
Indonesia
Ethno-linguistic Group Tausug
Classification Social Dance
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1
BackgroundContext
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional ldquofingernailrdquo dance of the Tausūg people of the Sulu Archipelago and
Sabah[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders elbows
and wrists[2] ndash movements that strongly resemble those of ldquokontaw silatrdquo a martial art
common in the Malay Archipelago The Pangalay is performed mainly during
weddings or other festive events [1] The male equivalent of the Pangalay is
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
184
Learning Goal Describe and discuss the nature and characteristics of the dances Philippine folk dances speak so much about the heartbeat of our people for they tell about our customs ideas beliefs superstitions and events of daily living in a certain communityJust by looking at the costumes props and implements of a certain group or tribe would tell you of the origin of the dance The kind of music being used readily also tell about the influences brought about by trade and settlement of our neighboring countries such as China Malaysia Indonesia Burma Cambodia Thailand and Japan to name a few Truly evident is the effect of acculturation in the country as manifested by the kinds of costumes props music and dance steps that are used and integrated in to some of our regional and national folk dances The use of gongs kulintangs and the incorporation of pentatonic scale to our musical compositions are just concrete proofs of acculturation in the country These are the reasons why Philippine folk dances contribute to the very rich culture of the country The following historical backgrounds and context of the dance literatures of Binislakan Sakuting Sua-ku-Sua and Pangalay would give you a clear picture of the nature and background of these regional and national folk dances This will help you
LESSON I
Now that you have written your personal goals and targets you may now procede to the next level which is a gateway for you to get acquianted with the basics in folk dancing So enjoy your journey as you unravel the origin and historical background of the regional and national folk dances with Asian influence Your journey starts now Goodluck
PART I WHAT TO KNOW
185
understand its significance and cultural value including the beauty and complexity of the peoplersquos lives living in those places Study these dances carefully and imbibe in you their importance to the development of cultural value
BINISLAKAN (Lingayen)
Dance Researcher Francisca Reyes
Meaning With the use of sticks
Dance Culture Christian Lowland
Place of Origin Pangasinan
Country of Influence China
Ethno-linguistic Group Pangasinense
Classification Social Dance
wwwkalilayancom
Background
Lingayen in Pangasinan means having to look backward and upward It was
derived from ldquoLi-King-Tungrdquo a Chinese word given to the name Lingayen the capital
of Pangasinan by the Chinese settlers of this place a long time ago The barrio folks
who lived at Almazin a small place between barrio Pangasinan (Pulong) and
Maniboc danced this to commemorate the stay of Limahong a Chinese pirate who
built his kingdom here
The dancers look backward or upward in some of the movements hence the
name Lingayen They also use two sticks to produce rhythms imitating the
chopsticks used by the Chinese in eating so the dance is also called Binislakan
which in Pangasinan means with the use of sticks
186
Dance Properties
Costume
Female Siesgo and kimono with loose and long
sleeves and soft panuelo
Male Camisa de Chino and red pants
Music 24 composed of two parts A and B
Count One two one and two and one and two and
Formation Partners stand about six feet apart One or more pairs in
a set can take part in the dance in any formation
desired
SUA-KU-SUA
Dance Researcher Ramon A Obusan
Meaning My Pomelo Tree
Dance Culture Lowland Muslim (Coastal)
Place of Origin Jolo Sulu
Country of Influence China Malaysia and Indonesia
Ethno-linguistic Group Tausug
Classification Courtship Dance
Source wwwkalilayancom
187
BackgroundContext
The Tausug of Sulu Southern Philippines though known as fearsome
warriors are also better known as sturdy seafarers and hardy farmers Extensive
orchards are planted with coconuts and pomelos and fields with staples like rice and
root crops
At harvest time pomelo fruits are gathered in big baskets before they are sent
away The Tausugs depend strongly on the income the pomelo bring them and this
relationship is romanticized by comparing the suarsquos gentle leaves slender branches
attractive fruits and fragrant flowers to the virtues of a lady Put to music it is this
song that is sang by couples while flapping two white fans each resembling leaves
rustling in the wind in the Sua-Ku-Sua Dance
Sua-ku-sua performers some men but especially women come to the
festivities with face thickly covered with finely ground rice powder and their eyebrows
and sideburns enhanced with soot- all for beautyrsquos sake
MovementsSteps Particular to Dance
Creative imagery Fans transform into tiny sails face mirrors butterflies
shields and leaves Tausug traditional steps with Chinese influence
Dance Properties
Costume
Female
Top (Barawasi) Traditional loose blouse long sleeves wit
deep plunging key-hole neckline
Extra panels attached to the right and left
chest decorated with many tiny brass
buttons
Material Cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Loose Chinese pants with a 10-inch soft
white band
(coco curdo) attached to a wide waist To
tuck the pants in the white band is
overlapped in front one side on top of the
other and rolled out to form a tight belt
Material Cheap Chinese silk or any silky material
preferably in navy blue sunshine yellow
grass green red or orange colors
188
Shoulder band (Siyag) A separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left
side
Headpiece
There are three choices
1 Gold or brass filigree called tusuk 2 Paper bills pasted on slender sticks and 3 Pasteboard cut-out the front tip 8 to 10 inches high
similar to Chinese crowns covered with gold foil
Accessories Gold or imitation gold earrings necklace
bracelets and brooches
Suggested Footwear Dancers are in barefoot
Male
Top (Bajo) Short-waist collarless shirt Open at the
front with the right panel overlapping the
left studded with many tiny brass buttons
and is not intended to close the front but
used as an additional shirt decoration It is
allowed to drop on the right side
Material cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Similar to the female pants but in darker
colors and bolder designs
Accessories Money-belt Sarok hat pis siyabit
(rectangular hand-woven scarf tied on
the head or hung loosely over one
shoulder) Kris (wavy knife) or Barong (leaf-
knife)
Suggested Footwear dancers are in barefoot
Music 24 and 44 composed of three parts A B and
C Gabbang- bamboo xylophone shaped
like a small boat Bamboo slats thinned
and cut to graduated sizes to produce three
octaves of pentatonic scale
Count 1 2 to a measure in 24 time signature
1 2 3 4 to a measure in 44 time
signature
189
PANGALAY
Dance Researcher Francisca Reyes-Aquino
Meaning Finger nail
Dance Culture Lowland Muslim (Coastal)
Place of Origin Sulu
Country of Influence Thailand Malaysia Burma Cambodia and
Indonesia
Ethno-linguistic Group Tausug
Classification Social Dance
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1
BackgroundContext
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional ldquofingernailrdquo dance of the Tausūg people of the Sulu Archipelago and
Sabah[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders elbows
and wrists[2] ndash movements that strongly resemble those of ldquokontaw silatrdquo a martial art
common in the Malay Archipelago The Pangalay is performed mainly during
weddings or other festive events [1] The male equivalent of the Pangalay is
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
185
understand its significance and cultural value including the beauty and complexity of the peoplersquos lives living in those places Study these dances carefully and imbibe in you their importance to the development of cultural value
BINISLAKAN (Lingayen)
Dance Researcher Francisca Reyes
Meaning With the use of sticks
Dance Culture Christian Lowland
Place of Origin Pangasinan
Country of Influence China
Ethno-linguistic Group Pangasinense
Classification Social Dance
wwwkalilayancom
Background
Lingayen in Pangasinan means having to look backward and upward It was
derived from ldquoLi-King-Tungrdquo a Chinese word given to the name Lingayen the capital
of Pangasinan by the Chinese settlers of this place a long time ago The barrio folks
who lived at Almazin a small place between barrio Pangasinan (Pulong) and
Maniboc danced this to commemorate the stay of Limahong a Chinese pirate who
built his kingdom here
The dancers look backward or upward in some of the movements hence the
name Lingayen They also use two sticks to produce rhythms imitating the
chopsticks used by the Chinese in eating so the dance is also called Binislakan
which in Pangasinan means with the use of sticks
186
Dance Properties
Costume
Female Siesgo and kimono with loose and long
sleeves and soft panuelo
Male Camisa de Chino and red pants
Music 24 composed of two parts A and B
Count One two one and two and one and two and
Formation Partners stand about six feet apart One or more pairs in
a set can take part in the dance in any formation
desired
SUA-KU-SUA
Dance Researcher Ramon A Obusan
Meaning My Pomelo Tree
Dance Culture Lowland Muslim (Coastal)
Place of Origin Jolo Sulu
Country of Influence China Malaysia and Indonesia
Ethno-linguistic Group Tausug
Classification Courtship Dance
Source wwwkalilayancom
187
BackgroundContext
The Tausug of Sulu Southern Philippines though known as fearsome
warriors are also better known as sturdy seafarers and hardy farmers Extensive
orchards are planted with coconuts and pomelos and fields with staples like rice and
root crops
At harvest time pomelo fruits are gathered in big baskets before they are sent
away The Tausugs depend strongly on the income the pomelo bring them and this
relationship is romanticized by comparing the suarsquos gentle leaves slender branches
attractive fruits and fragrant flowers to the virtues of a lady Put to music it is this
song that is sang by couples while flapping two white fans each resembling leaves
rustling in the wind in the Sua-Ku-Sua Dance
Sua-ku-sua performers some men but especially women come to the
festivities with face thickly covered with finely ground rice powder and their eyebrows
and sideburns enhanced with soot- all for beautyrsquos sake
MovementsSteps Particular to Dance
Creative imagery Fans transform into tiny sails face mirrors butterflies
shields and leaves Tausug traditional steps with Chinese influence
Dance Properties
Costume
Female
Top (Barawasi) Traditional loose blouse long sleeves wit
deep plunging key-hole neckline
Extra panels attached to the right and left
chest decorated with many tiny brass
buttons
Material Cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Loose Chinese pants with a 10-inch soft
white band
(coco curdo) attached to a wide waist To
tuck the pants in the white band is
overlapped in front one side on top of the
other and rolled out to form a tight belt
Material Cheap Chinese silk or any silky material
preferably in navy blue sunshine yellow
grass green red or orange colors
188
Shoulder band (Siyag) A separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left
side
Headpiece
There are three choices
1 Gold or brass filigree called tusuk 2 Paper bills pasted on slender sticks and 3 Pasteboard cut-out the front tip 8 to 10 inches high
similar to Chinese crowns covered with gold foil
Accessories Gold or imitation gold earrings necklace
bracelets and brooches
Suggested Footwear Dancers are in barefoot
Male
Top (Bajo) Short-waist collarless shirt Open at the
front with the right panel overlapping the
left studded with many tiny brass buttons
and is not intended to close the front but
used as an additional shirt decoration It is
allowed to drop on the right side
Material cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Similar to the female pants but in darker
colors and bolder designs
Accessories Money-belt Sarok hat pis siyabit
(rectangular hand-woven scarf tied on
the head or hung loosely over one
shoulder) Kris (wavy knife) or Barong (leaf-
knife)
Suggested Footwear dancers are in barefoot
Music 24 and 44 composed of three parts A B and
C Gabbang- bamboo xylophone shaped
like a small boat Bamboo slats thinned
and cut to graduated sizes to produce three
octaves of pentatonic scale
Count 1 2 to a measure in 24 time signature
1 2 3 4 to a measure in 44 time
signature
189
PANGALAY
Dance Researcher Francisca Reyes-Aquino
Meaning Finger nail
Dance Culture Lowland Muslim (Coastal)
Place of Origin Sulu
Country of Influence Thailand Malaysia Burma Cambodia and
Indonesia
Ethno-linguistic Group Tausug
Classification Social Dance
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1
BackgroundContext
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional ldquofingernailrdquo dance of the Tausūg people of the Sulu Archipelago and
Sabah[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders elbows
and wrists[2] ndash movements that strongly resemble those of ldquokontaw silatrdquo a martial art
common in the Malay Archipelago The Pangalay is performed mainly during
weddings or other festive events [1] The male equivalent of the Pangalay is
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
186
Dance Properties
Costume
Female Siesgo and kimono with loose and long
sleeves and soft panuelo
Male Camisa de Chino and red pants
Music 24 composed of two parts A and B
Count One two one and two and one and two and
Formation Partners stand about six feet apart One or more pairs in
a set can take part in the dance in any formation
desired
SUA-KU-SUA
Dance Researcher Ramon A Obusan
Meaning My Pomelo Tree
Dance Culture Lowland Muslim (Coastal)
Place of Origin Jolo Sulu
Country of Influence China Malaysia and Indonesia
Ethno-linguistic Group Tausug
Classification Courtship Dance
Source wwwkalilayancom
187
BackgroundContext
The Tausug of Sulu Southern Philippines though known as fearsome
warriors are also better known as sturdy seafarers and hardy farmers Extensive
orchards are planted with coconuts and pomelos and fields with staples like rice and
root crops
At harvest time pomelo fruits are gathered in big baskets before they are sent
away The Tausugs depend strongly on the income the pomelo bring them and this
relationship is romanticized by comparing the suarsquos gentle leaves slender branches
attractive fruits and fragrant flowers to the virtues of a lady Put to music it is this
song that is sang by couples while flapping two white fans each resembling leaves
rustling in the wind in the Sua-Ku-Sua Dance
Sua-ku-sua performers some men but especially women come to the
festivities with face thickly covered with finely ground rice powder and their eyebrows
and sideburns enhanced with soot- all for beautyrsquos sake
MovementsSteps Particular to Dance
Creative imagery Fans transform into tiny sails face mirrors butterflies
shields and leaves Tausug traditional steps with Chinese influence
Dance Properties
Costume
Female
Top (Barawasi) Traditional loose blouse long sleeves wit
deep plunging key-hole neckline
Extra panels attached to the right and left
chest decorated with many tiny brass
buttons
Material Cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Loose Chinese pants with a 10-inch soft
white band
(coco curdo) attached to a wide waist To
tuck the pants in the white band is
overlapped in front one side on top of the
other and rolled out to form a tight belt
Material Cheap Chinese silk or any silky material
preferably in navy blue sunshine yellow
grass green red or orange colors
188
Shoulder band (Siyag) A separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left
side
Headpiece
There are three choices
1 Gold or brass filigree called tusuk 2 Paper bills pasted on slender sticks and 3 Pasteboard cut-out the front tip 8 to 10 inches high
similar to Chinese crowns covered with gold foil
Accessories Gold or imitation gold earrings necklace
bracelets and brooches
Suggested Footwear Dancers are in barefoot
Male
Top (Bajo) Short-waist collarless shirt Open at the
front with the right panel overlapping the
left studded with many tiny brass buttons
and is not intended to close the front but
used as an additional shirt decoration It is
allowed to drop on the right side
Material cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Similar to the female pants but in darker
colors and bolder designs
Accessories Money-belt Sarok hat pis siyabit
(rectangular hand-woven scarf tied on
the head or hung loosely over one
shoulder) Kris (wavy knife) or Barong (leaf-
knife)
Suggested Footwear dancers are in barefoot
Music 24 and 44 composed of three parts A B and
C Gabbang- bamboo xylophone shaped
like a small boat Bamboo slats thinned
and cut to graduated sizes to produce three
octaves of pentatonic scale
Count 1 2 to a measure in 24 time signature
1 2 3 4 to a measure in 44 time
signature
189
PANGALAY
Dance Researcher Francisca Reyes-Aquino
Meaning Finger nail
Dance Culture Lowland Muslim (Coastal)
Place of Origin Sulu
Country of Influence Thailand Malaysia Burma Cambodia and
Indonesia
Ethno-linguistic Group Tausug
Classification Social Dance
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1
BackgroundContext
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional ldquofingernailrdquo dance of the Tausūg people of the Sulu Archipelago and
Sabah[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders elbows
and wrists[2] ndash movements that strongly resemble those of ldquokontaw silatrdquo a martial art
common in the Malay Archipelago The Pangalay is performed mainly during
weddings or other festive events [1] The male equivalent of the Pangalay is
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
187
BackgroundContext
The Tausug of Sulu Southern Philippines though known as fearsome
warriors are also better known as sturdy seafarers and hardy farmers Extensive
orchards are planted with coconuts and pomelos and fields with staples like rice and
root crops
At harvest time pomelo fruits are gathered in big baskets before they are sent
away The Tausugs depend strongly on the income the pomelo bring them and this
relationship is romanticized by comparing the suarsquos gentle leaves slender branches
attractive fruits and fragrant flowers to the virtues of a lady Put to music it is this
song that is sang by couples while flapping two white fans each resembling leaves
rustling in the wind in the Sua-Ku-Sua Dance
Sua-ku-sua performers some men but especially women come to the
festivities with face thickly covered with finely ground rice powder and their eyebrows
and sideburns enhanced with soot- all for beautyrsquos sake
MovementsSteps Particular to Dance
Creative imagery Fans transform into tiny sails face mirrors butterflies
shields and leaves Tausug traditional steps with Chinese influence
Dance Properties
Costume
Female
Top (Barawasi) Traditional loose blouse long sleeves wit
deep plunging key-hole neckline
Extra panels attached to the right and left
chest decorated with many tiny brass
buttons
Material Cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Loose Chinese pants with a 10-inch soft
white band
(coco curdo) attached to a wide waist To
tuck the pants in the white band is
overlapped in front one side on top of the
other and rolled out to form a tight belt
Material Cheap Chinese silk or any silky material
preferably in navy blue sunshine yellow
grass green red or orange colors
188
Shoulder band (Siyag) A separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left
side
Headpiece
There are three choices
1 Gold or brass filigree called tusuk 2 Paper bills pasted on slender sticks and 3 Pasteboard cut-out the front tip 8 to 10 inches high
similar to Chinese crowns covered with gold foil
Accessories Gold or imitation gold earrings necklace
bracelets and brooches
Suggested Footwear Dancers are in barefoot
Male
Top (Bajo) Short-waist collarless shirt Open at the
front with the right panel overlapping the
left studded with many tiny brass buttons
and is not intended to close the front but
used as an additional shirt decoration It is
allowed to drop on the right side
Material cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Similar to the female pants but in darker
colors and bolder designs
Accessories Money-belt Sarok hat pis siyabit
(rectangular hand-woven scarf tied on
the head or hung loosely over one
shoulder) Kris (wavy knife) or Barong (leaf-
knife)
Suggested Footwear dancers are in barefoot
Music 24 and 44 composed of three parts A B and
C Gabbang- bamboo xylophone shaped
like a small boat Bamboo slats thinned
and cut to graduated sizes to produce three
octaves of pentatonic scale
Count 1 2 to a measure in 24 time signature
1 2 3 4 to a measure in 44 time
signature
189
PANGALAY
Dance Researcher Francisca Reyes-Aquino
Meaning Finger nail
Dance Culture Lowland Muslim (Coastal)
Place of Origin Sulu
Country of Influence Thailand Malaysia Burma Cambodia and
Indonesia
Ethno-linguistic Group Tausug
Classification Social Dance
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1
BackgroundContext
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional ldquofingernailrdquo dance of the Tausūg people of the Sulu Archipelago and
Sabah[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders elbows
and wrists[2] ndash movements that strongly resemble those of ldquokontaw silatrdquo a martial art
common in the Malay Archipelago The Pangalay is performed mainly during
weddings or other festive events [1] The male equivalent of the Pangalay is
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
188
Shoulder band (Siyag) A separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left
side
Headpiece
There are three choices
1 Gold or brass filigree called tusuk 2 Paper bills pasted on slender sticks and 3 Pasteboard cut-out the front tip 8 to 10 inches high
similar to Chinese crowns covered with gold foil
Accessories Gold or imitation gold earrings necklace
bracelets and brooches
Suggested Footwear Dancers are in barefoot
Male
Top (Bajo) Short-waist collarless shirt Open at the
front with the right panel overlapping the
left studded with many tiny brass buttons
and is not intended to close the front but
used as an additional shirt decoration It is
allowed to drop on the right side
Material cheap printed or plain Chinese silk or
cotton
Pants (Sawal or Kantiu) Similar to the female pants but in darker
colors and bolder designs
Accessories Money-belt Sarok hat pis siyabit
(rectangular hand-woven scarf tied on
the head or hung loosely over one
shoulder) Kris (wavy knife) or Barong (leaf-
knife)
Suggested Footwear dancers are in barefoot
Music 24 and 44 composed of three parts A B and
C Gabbang- bamboo xylophone shaped
like a small boat Bamboo slats thinned
and cut to graduated sizes to produce three
octaves of pentatonic scale
Count 1 2 to a measure in 24 time signature
1 2 3 4 to a measure in 44 time
signature
189
PANGALAY
Dance Researcher Francisca Reyes-Aquino
Meaning Finger nail
Dance Culture Lowland Muslim (Coastal)
Place of Origin Sulu
Country of Influence Thailand Malaysia Burma Cambodia and
Indonesia
Ethno-linguistic Group Tausug
Classification Social Dance
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1
BackgroundContext
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional ldquofingernailrdquo dance of the Tausūg people of the Sulu Archipelago and
Sabah[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders elbows
and wrists[2] ndash movements that strongly resemble those of ldquokontaw silatrdquo a martial art
common in the Malay Archipelago The Pangalay is performed mainly during
weddings or other festive events [1] The male equivalent of the Pangalay is
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
189
PANGALAY
Dance Researcher Francisca Reyes-Aquino
Meaning Finger nail
Dance Culture Lowland Muslim (Coastal)
Place of Origin Sulu
Country of Influence Thailand Malaysia Burma Cambodia and
Indonesia
Ethno-linguistic Group Tausug
Classification Social Dance
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1
BackgroundContext
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional ldquofingernailrdquo dance of the Tausūg people of the Sulu Archipelago and
Sabah[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders elbows
and wrists[2] ndash movements that strongly resemble those of ldquokontaw silatrdquo a martial art
common in the Malay Archipelago The Pangalay is performed mainly during
weddings or other festive events [1] The male equivalent of the Pangalay is
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
190
the Pangasik and features more martial movements while a pangalay that features
both a male and female dancer is called Pangiluk
The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels
(Sanskrit Vidhyadhari Bahasa Sūg Biddadari) common as characters in other
Southeast Asian dances
Dance Properties
Costume Dancer wears a typical Joloana costume
Accessories Expert and professional dancers use janggay
extended metal finger nails in each finger The rich
people have janggay made of solid gold or silver
Suggested Footwear dancers are in barefoot
Music Played as many times as necessary
Count one two or one and two and to a measure
MovementsSteps Particular to Dance
There are no definite directions sequence of figures number and kinds of
steps hand movements and positions used when performed by the natives For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations
TIKLOS
Dance Researcher Francisca Reyes- Aquino
Meaning Refers to a group of peasants
Place of Origin Panay and Leyte
Country of Influence China Burma and Cambodia
Classification Recreational Dance
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
191
wwwfolkdancetk
BackgroundContext
For centuries Tiklos has been a very important factor in the social life of the
peasants of Leyte Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest prepare the soil for planting or do any odd job in the farm including the building of a house At noontime the people gather to eat their lunch together and to rest During this period Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum)
The music of Tiklos is also played to gather the peasants before they start to work Dance Properties
Costume Dancers are dressed in working costumes Music Divided into two parts A and B Count one two or one ah two ah or one and two to a measure Formation Partners stand opposite each other about six feet apart
When facing audience the girl stands at partnerrsquos right side One to any number of pairs may take part in this dance
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
192
SAKUTING
Dance Researcher Francisca Reyes Aquino
Meaning Refers to rhythmic sticks producing the
accompaniment for the dance
Place of Origin Abra and Ilocos Norte
Country of Influence China
Classification Recreatinal and Social Dance
flickrcom
BackgroundContext
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country During the Christmas young boys and girls accompanied by their elders would go to the lowlands especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts These young children hold sticks one on each hand and strike them together to make their dance more lively The homes would give them money homemade delicacies and other things These dancing groups later reached as far as the coastal towns of Ilocos region as years went by The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance ldquoSakutingldquo is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
193
Dance Properties
Costume Girl ndash Native Ilocano kimono style with sleeves of elbow length skirt of bright-colored plaids shirred at the waist of ankle-length Boy ndash Camisa de chino and red trousers and a native hat Music 24 and frac34 rhythms and composed of 9 parts A B C D E F G H
and I Formation Audience X O
O X X O O X One set of dancers
Written Check-up
Below are jumbled letters which when arranged correspond to regional and national dances Can you identify each On a page in your activity notebook put numbers from 1 to 5 Write each formed word on the space provided before
each number and try to share your knowledge about it
_______________1 GANAPYAL _______________2 LABISNIKAN _______________3 ASU UK ASU _______________4 SIOTLK _______________5 GIKNATUS
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
194
B In your activity notebook or sheet copy the table as shown and fill it in with information called for
Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Dance Classification
Influenced by what Asian Country
Sua-Ku-Sua Social Dance China Malaysia Indonesia
With the use of sticks
Lingayen Pangasinan
Sakuting Abra Social Dance
Tiklos A group of peasants
Leyte RecreationalSocial Dance
Pangalay Wedding Dance Malaysia Indonesia Malaysia Thailand Burma and Cambodia
Note to the learner One dance should only be taught by your teacher for the 4th
quarter However if time allows you to learn one more dance or all of the five
dances then that will be a lot better
Were you able to arrange the jumbled
letters correctly Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn To a certain
extent knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance
To further measure how retentive
your memory is try to answer the next
activity by recalling the significant
details of the different dances below
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
195
WHERE DO I BELONG
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation
1 In a sheet of paper write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props facial expressions and body gestures of the performers Your teacher here will show you a video presentation of different dances with Asian influence like Singkil Kappa Malong Pangalay Sua-ku-Sua Sakuting Binislakan Tiklos etc If video presentation is not possible your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country Choose one from the following choices
aLuzon
bVisayas cMindanao
Activity 1 Tracing the origin and location of a Dance through its costume
Have you filled out the correct
information in the table above After
knowing the important concepts
derived from the previous learning try
to strengthen your understanding by
doing the following activity
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
196
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers Study the procedures given
and do what is asked of you to perform This could be an individual or group activity
Prepare a miniature boy and girl dancers made of cartolina and post it on the
board Create different regional costumes in the Philippines made of Manila paper
Dress up the miniature dancers and name the province where they come from
In tracing where the costumes are usually worn consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions
Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes expression and implements used Justify your
answers
Were you able to successfully
trace the place of origin of all the
dances presented If so try to
apply your learning on the next
activity However if you missed
some important points ask your
teacher to help you analyze the
lesson before doing the next
activity
Activity 2 DRESS ME UP
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
197
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
1 Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay What is the time signature of the music Is it done in duple triple or quadruple meter Why do you say so
2 Feel the beat and rhythm of the music and do the following activities with your eyes now open
a Clap your hands in time with the music b Stamp your feet and do some rythmic improvisations using the same
music c Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds d Use body gestures or accompany it with vocal sounds in time with the
music being played 3 For variation repeat items 1-2 using the recorded music of Tiklos Binislakan
and Sakuting
LESSON II
Activity 3 Listening While Playing
Did you enjoy the activity Did you
observe cooperation and teamwork with
members of your group while doing the
task If you did congratulations for
having done a great job So you are now
ready to go to the next level You are now
faced with a bigger challenge this time
by doing some movements Here you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
198
In this activity yoursquoll learn the importance of rhythm in the performance of folk
dances
1 Your teacher will group your class into four 2 Using any medium for sound production you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the regional and national folk dances Using the douple meter as your basis in producing the sound divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates
You can use any of the following that could produce sounds
a clapping your hands
b stampping your feetproducing vocal sounds c snapping your fingers d using any materials as percussive instruments
Part II- WHAT TO PROCESS
Activity 4 Letrsquos Get Loud
Well done How did you feel
while performing the activity
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned You will find the
answer after doing the next
activity Now you can do another
activity to enhance the skills
yoursquove learned
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
199
3 This time create rhythmic combination using the triple meter for another 16 measures
4 Always observe the principles of accent intensity dynamics and tempo in your routine
5 After a ten-minute rehearsal perform your output in class Perform the rhythmic combination in douple meter first then the triple meter or vice versa Refer to the following rubrics to be used for evaluation
6 After the group performance discuss in class the importance of rhythm in the
performance of folk dance
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
200
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN RHYTHM
Weight Musicality
(Timing Dynamics
and Mastery)
40
Degree of Difficulty
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
40
Characterization
(Behavior During
Performance)
20
5
MASTERFUL Performs
rhythmic composition with
high level of musicality while
observing proper timing
dynamics and mastery
SKILLFUL Creates skillful
composition of complex
and intricate rhythmic
patterns in duple triple
and quadruple meters
MATURE Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
4
STRATEGIC Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing
and mastery but with limited
ability to perfom with
dynamics
COMPETENT Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple triple and
quadruple meters
SENSITIVE Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
3
ABLE Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple triple and
quadruple meters
AWARE Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
2
APPRENTICE Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE Creates
rhythmic patterns but
could hardly distinguish
differences among duple
triple and quadruple
meters
DECENTERING Displays
inconsistent
characterization and
demonstrates low level of
confidence
1
NOVICE Performs rhythmic
patterns with low or no
mastery timing and dynamics
NOVICE can not create
any rhythmic pattern at all
EGOCENTRIC Has little or
no characterization and
behaves inappropriately
towards the performance
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
201
1 In this activity I have learned to realize that ________________________ 2 I can create rhythmic patterns by ________________________________
________________ and using any_______________________________
3 To be able to make rhythm complete the principles of accent intensity __________ and _______ should be observed
4 I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music
5 For me rhythm is just as important as _____________ because without it ________________
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
Yoursquore smart Now I think
yoursquore ready for the next
activity which is more
challenging than the previous
one Keep going
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
202
With the same grouping that you had in Activity 4 Letrsquos Get Loud perform
again the rhythmic combinations that you composed while doing the
following
1 Based on videos you saw earlier in the Pre-assessment Activity and Activity 1 create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created
2 Always observe the elements of space and movement while doing the routine
3 Perform the whole routine of dance and sound improvisations with proper expressions and gestures
Activity 6- DANCE INTO THE GROOVE
PART IV WHAT TO TRANSFER
Now that you have realized the importance
of rhythm you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
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243
203
Basic Steps in Folk Dancing
In this lesson you will be made familiar with the basic steps and arm movements of the dances ldquoBinislakan Sakuting Sua-Ku-Sua Pangalay and Tiklosrdquo This will give you a clear understanding of the nature of these folk dances If you study the literatures of these dances found at the end of this module you will notice distinct steps and movements that are inherent in each dance The following dance terms and dance steps are basically used in Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You are to master all these dance steps which will be used later in your performance test Study them carefully and demonstrate the dance steps with the help of your teacher
Padyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo - it means to bow Arms in Lateral Position - both arms are in one side at shoulder level either
right or left
Set - a dance formation of two or more couples Bend - to move the body or part of the body around wide axis Leap - to spring one foot and land on the other foot
LESSON III
Did you enjoy the activity You must be
sweating out now Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing You know
pretty well that dancing is a good exercise
thus you are keeping your heart healthy
Since you have already started doing
some movements itrsquos now time for you
to test your own dancing skills by doing
the next activity Enjoy and have fun
while mastering the rudiments
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
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243
204
Dance Step Music Used No of counts or
M per step Step Pattern
Slide (glide) 24 or 34 1M slide close
Skip 24 or 68 1 ct step and hop
Bleking 24 or 34 1 2 or 3 cts heel-place close
Gallop 24 or 68 1 ct step and cut
Mincing 24 or 34 as many as
required step step step and so on
Parallel Tortillier 24 34 or 44 as many as
required pivot and turn heels pivot
and turn toes
Pivot Turn 24 2M or 4M Step ball and turn step
ball and turn and so on
Touch Step 24 or 34 1 2 or 3 cts Touch close
Change Step 24 or 34 1M Step close Step
Waltz turn 24 or 34 2M
Execute 2 waltz steps to make a turn
Waltz step 24 or 34 2M Step R step L close to R in rear step R
Stamping 24 or 34 1M Stamp(R) (L) and close to supporting foot(L) (R)
Study and analyze the
following table The
information given will
be needed in your dance
performance Stay
focus
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
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243
205
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step M = Measure
F = Forward B = Backward R = Right L = Left
In this part you will be given basic steps arm and bodily movements that are
used in Binislakan Sua-Ku-Sua Sakuting Pangalay and Tiklos Identify what is being defined
1 Both arms are in one side at shoulder level either right or left 2 To stamp or tap with one foot and the weight of the body is on the other
foot 3 To spring one foot and land on the other foot 4 To move the body or part of the body around wide axis 5 A dance formation of two or more couples
PART I WHAT TO KNOW
Activity 7 Tell Me
Congratulations for having
gone this far Reaching this
part is a clear indication of
your willingness to learn
more Now maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
206
In this part you will be given practical applications of the basic steps arm and
bodily movements used in Binislakan Sakuting Tiklos Sua-Ku-Sua and Pangalay Read the instructions and make sure to follow them correctly
Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan Sakuting Sua-Ku-Sua Tiklos and Pangalay
Out of the dance steps you learned create dance-step combinations
The following rubric will be used to evaluate your performance
PART II WHAT TO PROCESS
Activity 8 DANCE WITH ME
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
207
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERSrsquo PERFORMANCE IN FOLK DANCE
Weight Choreography and
Artistic Presentation
40
Execution and
Mastery of Steps
30
Characterization and
Behavior During
Performance
30
5
OUTSTANDING Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
4
DYNAMIC Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT
Demonstrates the steps
competently and with
confidence
EXPRESSIVE Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
3
CREATIVE Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE Has very low or
no coordination in
demonstrating steps has
very low level or no
confidence at all
MECHANICAL Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
208
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates
1 Group yourselves into two Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance
2 Those in group B should choose a partner in group A 3 Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute 4 Help each other in interpreting correctly the step patterns provided 5 Your teacher will supervise you as heshe guides you in doing the activity 6 After the given time alloted by your teacher a performance assessment will
be given
7 Try to provide feedback on the performance of the other groups
Part III WHAT TO REFLECT AND UNDERSTAND
Activity 9 No Man Is An Island
In your performance what grade did
you receive Are you satisfied with
it If your grade is low would you
want to improve your performance if
given another chance by your
teacher If you got a high grade in
your performance wouldnrsquot you want
to share your expertise to your fellow
classmates who are still novice What
do you think
The next activity will allow you and your
classmates to do peer-teaching In here
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
group to remediate their weaknesses by
having learning in a partner or buddy
system Which group do you belong
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
209
In life we need one another We need to cooperate and help those who are
in dire need Along the way we also need to seek guidance from people who are
knowledgeable on certain issues Life should be based on a give - take - process
That way we can create harmonious working relationship in our community This
principle is also applied in the teaching ndash learning - process of a dance
performance
How did you feel while doing the
activity If you belong to Group A
what did you feel while teaching your
classmates Does it make you proud
having done so If you belong to
Group B how did you feel while you
were being taught by your classmate
Were you a bit embarrassed or
intimidated
To measure how effective this
activity is you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity Letrsquos see if you
have improved
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
210
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper
1 Perform the dance steps correctly in figures 1 ndash 3 of Binislakan (Group A) 2 Execute the dance steps correctly in figures 4-6 of Binislakan (Group B) 3 Perform the whole dance properly with music accompaniment (Group C) 4 Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio Storyline should be related to the theme or cultural background of the dance itself
Note to the Learner (Your teacher may select any of the five dances which will be used in the performance)
PART IV WHAT TO TRANSFER
Activity 10 Watch Me
How was your dance performance
Do you honestly believe that you
performed a lot better this time
May Take note that performing does
not only mean dancing gracefully
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
211
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts joy or sorrow of the one performing You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later
This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances
The following instructions will be facilitated by your teacher
LESSON IV
Part I WHAT TO KNOW
Activity 11- GRAND TABLEAU
In this part you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
212
1 Your classmates and you will be grouped into five 2 The leaders of the five groups will be asked to draw lots Each piece of paper
describes one particular scene to be portrayed by the group For one minute you and your groupmates will conceptualize a typical scenario given these situations
a Fishermen pulling up their fishnet from the sea b Farmers harvesting bountiful grains c Fiesta celebration of your town d Wedding ceremony e A man courting a lady
3 After conceptualization another 10 seconds will be given for your group to act out
the scenes that you have planned exhibiting the proper facial expressions and hand or bodily gestures
4 After the activity your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance music theater and other performing arts
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance
Part II WHAT TO PROCESS
Activity 12- ITrsquoS SHOWTIME
Did you have fun doing the
activity I guess so Now you are
tasked to apply these learned skills
into the next activity Applying
emotions and gestures to the step
patterns that yoursquove learned will be
more exciting Good luck Have fun
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
213
1 With the same grouping you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements Expressing the right emotions needed in the given situations should be observed Two to three minutes will be allotted for each group performance
2 Bear in mind that while one group is performing the other groups will be instructed to note their observations
3 An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question ldquoWhich group do you think performed bestrdquo Why do you say so
Self- Check
Put a checkmark on the appropriate line
To what extent did you learn the dance in terms of 1 cultural heritage
___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 cultural values ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 movements ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 cultural appreciation ____________to a great extent ____________to a moderate extent ____________to a lesser extent
Part III WHAT TO REFLECT AND UNDERSTAND
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
214
Reflection
In life we always aim to be successful One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing We need
to put our heart and mind into the things we do to in order to gain mastery Through
dancing we may be able to develop health fitness such as having cardio-vascular
endurance flexibility and strength which are key factors in achieving success
Answer the following questions
What is the importance of proper expressions in folk dancing
How are the movements shown in Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay reflect the kind of life people have on those places
Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION
How is life connected to dancing Can
you explain this
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
215
Interpret dance literature of Binislakan Tiklos Sua-ku- Sua Pangalay and Sakuting
It is very enriching to be able to interpret a dance literature Since folk dances
are documented it is always an edge to correctly interpret the text of a dance literature Herewith are the dance figures of the four dances It is hoped that through these dances your ability to interpret dance literatures will lead for you to appreciate other folk dances
Note to the learner One dance should only be taught by your teacher for the fourth quarter However if there is still time for you to lear one more dance or all of the five dances then that will be a lot better
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience
(a) Cross sticks overhead R-hand stick over L-hand stick and look upward3M (b) Bend trunk forward and bring down point of crossed sticks
LESSON 5
Congratulations Yoursquore smart to
be in this level Check the next
activity Try as much as you can to
study and analyze the step-
procedures of the dance
literature This part requires
patience and understanding for
you to interpret perfectly the
dance Have patience Good luck
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
216
close to floor1M
I
Music A
Face audience
(a) Starting with R foot take four change steps sideward right and left alternately raising alternately the L foot and R foot slightly above the floorbend trunk sideward right and left alternately Strike sticks sideward right and left alternately three times to a measure RLRLRL (cts 1 and 2) to every measure4M
(b) Execute mincing steps sideward right Strike sticks overhead four times to a Measure RLRLRL alternately Look upward2M
(c) Bend knees and twist trunk to left strike sticks backward RLR(cts1 and 2) look backward right1M
(d) Straighten trunk and stamp foot RLR (cts 1 and 2) Strike sticks R L R In front of chest1M
(e) Starting with L foot repeat (a-d) to opposite direction stamp feet LRL8M
II
Music B
Face audience
(a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times step on R foot with springy movementsLike small leap bend trunk slightly sideward right R hand bend in frontin level with head stick pointing toward audience L hand down in rear stick pointing sideward left look at left shoulder (cts
1212)2M
(b) Tap L foot in front two times bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts 1and) straighten trunk and step L close to R foot strike sticks once in front1M
(c) Repeat (b) with R foot bend trunk toward R foot1M (d) Repeat (a-c) in reverse direction and position4M (e) Face partner and repeat (a-d)8M
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
217
III
Music A
Face audience
(a) Jump forward and bend trunk forward Cross sticks R stick over L stick Below knee level1M
(b) Straighten trunk and raise gradually the sticks overhead sticks are still crossed Look upward1M
(c) Repeat (a) and (b)2M (d) Execute mincing steps going backward arms are in
reverse ldquoTrdquo position And shiver sticks sideward Bend head sideward right and left every two counts2M
(e) Execute mincing steps turning right about finish facing away from audience (1M) Raise R knee and strike sticks once under it (ct1) straighten knee feet together and strike sticks once in front (ctand) raise L knee and strike sticks once under it (ct2)2M
(f) Repeat (a-d) facing away from audience6M (g) Repeat (e) finish facing audience2M
IV
Music B
Partners face each other Boy and Girl do their movements simultaneously
Girlrsquos Movements
(a) Starting with R foot execute eight change steps going clockwise around Boy Strike sticks overhead and at the back alternatelythree times toa measure Strike sticks at the back Kneel on both knees on the last count8M
(b) Do the movements of Boy below (a-c) Finish facing audience8M
Boyrsquos Movements
(a) Kneel on both knees and strike sticks on the floor at the right side three times (cts 1 and 2) strike sticks overhead three times upward (1M) strike sticks at the left side on the floor three times (1M) strike sticks overhead three times (1M4M
(b) Repeat (a) stand at the last count4M (c) Repeat movement of Girl (a) Finish facing audience8M
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
218
V
Music A
Partners face audience
(a) Take one change step sideward right (cts 12) raise L foot above the floorin (ct2) bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR1M
(b) Repeat (a) three times more to ideward left and sideward right alternately Raise R foot above the floor when doing the change step to sideward left and strike sticks LRL3M
(c) Face partner and strike sticks on floor in front full knee bending R knee lower than L knee (cts 1ahand2and)1M
(d) Stand straighten trunk and strike sticks RLRL in front (cts As in (c) )1M
(e) Step R foot forward (ct1) hop on R foot raise L foot slightly close to R foot strike both sticks diagonally right head level with partner (ctand) step L foot sideward (ct2) hop on L foot and strike sticks diagonally left with partner (ctand)1M
(f) Stamp feet RLR strike sticks in front RLR (cts1 and 2)1M (g) Repeat (a) and (b) facing audience4M (h) Repeat (c) and (f) facing audience4M
VI
Music B
(a) Starting with R foot execute two change steps going forward to meet partner at center finish in one line Girl in front of Boyfacing audience Strike sticks three times RL R overhead (look upward) (cts 1and 2)2M
(b) Starting with R foot execute six change steps right and left alternatelyGoing around clockwise Strike sticks as in (a) Finish in a circle facing center6M
(c) Starting with R foot take four change steps going toward centerStrike sticks as in (b)4M
(d) Repeat (c) going backward finish facing right4M
Saludo
Music Finale
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
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243
219
(a) Execute mincing steps going counter clockwise finish in line formationfacing audience as in Figure I Arms in reverse ldquoTrdquo position and shake sticks sideward bend head sideward right and left alternately every two counts3M
(b) Stamp feet RLR and strike sticks overhead RLR (cts1 and 2) Look upward1M
(c) Mincing steps turning right slowly finish facing audience sticks are still crossed overhead and looking upward3M
(d) Feet together bend trunk slowly forward bringing down the crossed sticks below knee Sticks touch floor in the last count1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A
Partners face audience Throughout this figure the knees are slightly bent
and turned outward Arms extended sideward with a fan in each hand
(a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight) Bend the head sideward rightand left alternately in time with the hand movement 8M
II
Music B
Partners face audience
(a) Place R heel forward arms sideward (cts12) take six steps in place move hands as in Figure I (cts 3 4 1 2 34) 2M
(b) Place R heel forward two times (cts 1 2 3 4)1M (c) Take four steps turning right about in place arms and
hand movements as in (a)1M (d) Repeat all (a-c) Finish the turn facing partner4M
Music C
Partners face each other
(a) With arms in fourth position L arm high step R forward
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
220
and raise L foot in rear turning the hands down (ct1) step L in place turning hands up(ct2) step R backward and raise L foot forward moving R arm to 2nd position and turning hands down (ct3) step L foot in place turning hands up (ct4)1M
(b) Take four walking steps forward to be in line with partner by R shoulders arms and hand movements as in Figure I (cts 1 2 3 4)1M
(c) Repeat (a) and (b) Finish in partnerrsquos place 2M (d) Turn left about and repeat (a-c) Finish in proper places
(Partners are by L shoulders in (b)4M
IV
Music A
Partners face each other
Arm Position Place both arms in front at waist level Wrist of R hand is
up finger tips pointing downward while the L hand in
reverse position R hand is in front of L
Arm Movement With wrist leading raise R hand up and pull L hand down
palms in (ct 1) flip hands to reverse position and
movement (ct2) Repeat same (ct2)
(a) Step R across L in front (ct1) step L sideward (ct2) Repeat same (cts 3 4)1M
(b) Repeat (a) three times more moving in a circle clockwise always facing partner Boy finishes facing audience while Girl finishes behind the Boy3M
(c) Girl repeat (a) and (b) moving clockwise while facing the line of direction Boy repeat (a) and (b) in place4M
V
Music C
Partners face each other
(a) Take three walking steps obliquely forward left (cts 123) turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct4) From 2nd position move the arms downward-forward
(as if scooping) Finish with the palms up (cts 12)
turn both hands toward chest inward Continue the turn
and end up with arms forward palms facing front finger
tips in (ct3) pull hands outward away from each other
(ct4)1M
(b) Repeat (a) starting with the L foot turning left about1M (c) Repeat (a) and (b) two times more4M (d) Boy take seven walking steps obliquely forward
left arms and hands as in Figure I (cts 1234 123)
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
221
point L foot sideward (ct4) Girl take four steps turning right about in place (cts 1
234) and three steps in place (cts 123) point L foot
sideward (ct4) Hand movement is the same as that of Boy2M
NOTE Partners are now in one line facing front Girl at partnerrsquos right side
VI
Music A
(a) Step L across R in front (ct1) step R sideward (ct2) arm and hand movement as in Figure I Repeat same two times more (cts34 12) step L sideward (ct3)
point R foot sideward (ct4)2M (b) Repeat (a) starting with the R foot moving to the
opposite direction2M (c) Repeat (a) and (b) Close feet together on the last count4M
VII
Music B
Girl turns left about so that R shoulder is toward partner Extend R arms
sideward hand of Girl on top of boyrsquos hand L arms are raised overhead
(a) Starting with the R foot take sixteen walking steps forward moving half-way clockwise Finish in partnerrsquos place4M
(b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl Reverse position of hands Finish in proper places4M
VIII
Music B
Partners face each other
(a) Step R forward and move arms to 2nd position (ct1) raise L foot close to the R knee Raise arms overhead and flip hands down (ct2) cross turn right about in place R arm up Shake L hand obliquely sideward- downward (cts 34 1234)2M
(b) Repeat (a) with the L foot Reverse position of arms2M (c) Repeat (a) and (b)4M
IX
Partners face each other
(a) Take four walking steps to Girlrsquos place Hands as in Figure VII (d)1M
(b) Place R heel forward Bend trunk forward and place R and L cheek close to that of partner alternately four
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
222
times (cts 1234) Fans are held close to waist1M
(c) Take four walking steps to the center1M (d) Repeat (b)1M (e) With fans held sideward-downward palms down
stamp R foot five times in place(cts 1 and 2 and 3) Flip fans and strike the thighs with the fans (ctand) Raise arm sideward palm down (ct 4)1M
(f) Take four steps turning right in place arms obliquely sideward-downward1M
(g) Repeat (e) and (f)2M (h) Take eight steps turning right Finish facing front2M
X
Music B
(a) Starting with the R foot take four walking steps forward to meet partner at center arms as in Figure I1M
(b) Place R heel forward Girl leans back with hands close to hips palms facing front Move head sideward left and right alternately four times Boy taps R and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts 1234)1M
(c) Take four walking steps to Boyrsquos place Boy moves backward while Girl moves forward Arms as in (d)1M
(d) Repeat (c) This time the Girl does the choppy movement and the Boy the head movement1M
(e) Take four walking steps to center Boy moves forward while the Girl moves backward1M
(f) Repeat (e)1M (g) Stamp R foot five times in place (cts 1 and 2
and 3) raise R foot and hit the thighs with both fans (ctand) flip fans outward (ct4)1M
(h) Three-step turn right in place (cts123) close feet together (ct4) arms down at sides tips of fans facing sideward-outward1M
(i) Repeat (g) and (f)2M (j) Starting with the R foot take four walking steps
(Boy moving forward Girl moving backward) Arms in reverse ldquoTrdquo position fans facing front (cts 1234) Sway fans in a figure of eight for every count1M
(k) Boy bends trunk forward while Girl leans backward Move the heads (Boy to right side Girl to left side) (ct1) reverse the direction (ct2) repeat the same (cts34)1M
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
223
(l) Repeat (j) and (k)2M
(m) Take four steps to face front arms as in (f)1M (n) Two steps to turn right in place and pause1M
FINALE
(a) Step L sideward (cts 12) step R across L in front knees are slightly bent (cts 34) Twist trunk to the right R arm obliquely downward-sideward L arm obliquely forward-upward shaking fans (cts
1234)2M
Dancers sing as they perform the dance The natives often repeat the dance as
many times as they like or until they are made to stop The song goes this way
Music A Sua-ko Sua-ko yampa tia num
Sua-ko Sua-ko yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C Kan ka pilaran cambia sara-ran
Di ka dua han di ka imanan
Ah magpe-pin-tas ha-la-man
Ah magpe-pin-tas da koman
My little orange tree I had planted
With its six lovely green leaves
Reminds me of her
Thus causing my heart to beat
That loveliest beauty among the many
That pretty one I cannot change
Walking hurriedly along the street
Hand in hand with me-I
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
224
To that lovely beauty I lost my heart
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
Source of Lyrics Philippine National Dances
Mrs Francisca Reyes Tolentino
Literal Translation of the Song by Lt Alpad Arasad
PANGALAY
Philippine Folk Dances Francisca Reyes Aquino
Entrance Starting with R foot walk to center of the room Both arms down at
sides palms down fingers together and pointed outward Take 1 count for each step 4M or 8M I Face audience
(a) Slide R foot forward with only toes touching the floor (ct 1) put weight on same foot at the end of the slide (ct2) Knees are slightly bent and turned outward R hand in front at eye level L hand down in rear fingers together and hyper-extended Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1 M
(b) Repeat (a) seven more times L and R foot alternately Do the same hand movements L and R alternately in front helliphelliphelliphelliphellip 7 M
(c) Repeat (a) and (b) moving backward to starting place helliphelliphelliphellip 8M
II R shoulders towards audience
(a) Repeat slide step foot movement as in figure I R and L alternately eight times moving clockwise Arms in lateral position turning hands as in figure I right and left Sideward alternately every two countshelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving backward to starting place helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
225
III
Face audience (a) Repeat slide-step movement as in figure I going obliquely
forward right R and L alternately eight times Start with arms down at sides palms facing front finger tips pointing downward raise arms gradually upward to head level (4cts) turn wrist outward so that finger tips point upward palms facing front lower arms gradually downward to starting position (4cts) Reverse position of arms every four counts helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about Repeat (a) going to starting place helliphelliphelliphelliphelliphellip 8M (c) Repeat (a) and (b) going obliquely forward left in (a) helliphelliphelliphelliphellip 8M
IV
Face audience (a) Starting with R foot take eight steps turning right (clockwise)
in place (1 ct for each step) Arms bent forward at shoulder level four fingers together and hyper-extended thumbs sticking up Execute a figure of eight movement with the hands every two counts gradually stretching the arms sideward at shoulder level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) turning counterclockwise Repeat same hand movement gradually bending elbows to forward bent position helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
V Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct1) at the end of the slide straighten toes and put weight on same foot (ct2) Raise hands in front at the eye level R hand on top with palm facing the front fingers together L hand down palm facing in (self)for two counts helliphelliphelliphelliphelliphelliphelliphellip 1M
(b) Repeat (a) turning counterclockwise Reverse position of the hands every two counts L and R hand on top alternately with palms facing self (when hand is down) and palms facing front (when hand is on top) The hand that goes down passes in front helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 7M
(c) Turn right about repeat (a) going to starting place helliphelliphelliphelliphellip 8M
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
226
VI
R shoulder towards audience (a) Execute eight parallel tortillier steps sideward right Start with
toes pointing sideward first taking one count for each movement Arms in lateral position sideward right palms facing out finger tips pointing upward (ct1) flex wrist upward so that finger tips point downward (ct2)Reverse position of the finger tips every count (or every two counts if desired) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 4M
(b) Repeat (a) moving sideward left Arms in lateral position sideward left doing same movements as in (a) helliphelliphelliphelliphelliphelliphellip 4M
(c) Face audience Repeat (a) and (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
VII
R shoulder toward audience (a) With knees slightly bent execute shuffling steps forward moving
clockwise (counting 1 and 2 and for every measure) Bend arms upward elbows close to waist hands about two inches over shoulders palms down Move fingers (except thumbs) up and down alternately every count helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
(b) Turn right about repeat (a) moving counterclockwisehelliphelliphelliphelliphellip 8M
Saludo Face audience Place right foot in front bend body slightly forward head bent forward cross hands at wrists down in front R hand over L palms down helliphelliphelliphelliphellip 2M
Tiklos
Philippine Folk Dances Francisca Reyes Aquino
I
Music A Partners face front Throughout this figure Girl holds her skirt Boy places hands on waist
(a) Starting with R foot take two heel and toe change step forward helliphellip4M (b) Execute change step sideward R and L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Starting with R foot take four steps backward to proper placeshelliphellip4M
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
227
(d) Repeat all (a-d)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M II
Music B Partners face front The same hand position as in figure I
(a) Cut L backward (ct1) cut R forward (ct2) Repeat all (cts 12) helliphellip2M (b) Take three gallop steps sideward right (cts1 ah 2 ah 1 ah)
step right foot sideward(ct 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Repeat (a) starting with R cut backward helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (b) going sideward left helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
III Music A Partners face each other Throughout this figure clap hands in front of chest in this manner
Clap three times (cts 1 and 2) clap twice (cts 1 2) Do this for 16 measures
(a) Execute change step sideward starting with R foot (cts 1 and 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct1) hop on R and swing L foot obliquely left forward (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(b) Repeat (a) starting with the L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (c) Execute a three step-turn right in place (cts 1 and 2) Point L in
front (ct 1) point the same foot close to R (ct 2) helliphelliphelliphelliphelliphelliphelliphelliphellip2M (d) Repeat (c) starting with L foot and turning left helliphelliphelliphelliphelliphelliphelliphelliphellip2M (e) Repeat all (a-d) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
IV Music B Partners face each other The same position of hands as in figure 1
(a) Take two touch step in front (R L) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M (b) Jump to cross R in front of L (ct1) jump to cross l in front of R
(ct 2) jump to cross Rin front of L (ct1) jump to close R to L (ct2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
(c) Repeat (a) and (b) starting with L foot helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip4M (d) Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
228
SAKUTING
Philippine Folk Dances Francisca Reyes Aquino
Entrance
a Partners walk side by side in rhythm with the music with Head Pair leading the group into formation Finish facing partner R arm bent in front holding stick upward L hand holding stick placed behind the waist helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE I Music A Partners face each other
a Head Pair Face the set Weave in and out of the set and continue until back to original places Strike sticks R over L on ct 1 L over R on ct and R over L on ct 2 Strike starting L over on next measure Pairs 2 3 and 4 perform 32 cut-step-step in place alternately starting with Lhelliphelliphelliphelliphelliphelliphelliphelliphellip 32M
FIGURE II Music B Partners face each other
a Bend downward Strike sticks 3x R and L L over R R over L helliphelliphellip2M Straighten trunk Strike sticks in front and waist level 3x L over R R over L and Lover R
b Waltz step R Waltz L Strike sticks 3x to a measure helliphelliphelliphellip 2M c Leap R placing L heel in front (ct 1) to be by L shoulders
with partner hold position (cts 2 3) Strike L sticks with Partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Leap on L and place R heel in front (ct 1) to be in back to back position with partner hold position (cts 2 3) Strike R sticks with partner (ct 1) strike own sticks 2x (cts 2 3) 1M
e Step R and place L in front (ct 1) to be by L shoulders with partner (ct 1) hold position (cts 2 3) Strike L sticks with partner (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphellip1M
f Waltz step to proper places Strike own sticks R over L L over R R over L helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (a) to (f) starting L and standing by L shoulders
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
229
Start all strikes of sticks with L over R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE III Music C Partners face each other
a 2 waltz steps R L moving diagonally forward Finish in one line with partner by L to L shoulders Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Raise R leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under raised leg (ct1) strike sticks R over
L and L over R (cts 2 3)helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Face partner Strike R sticks with partner (ct 1) strike own sticks R over L and L over R (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d Raise L leg in front (ct 1) lower leg (cts 2 3) Strike own sticks under (ct 1) strike sticks R over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Face partner Strike R sticks with partner (ct 1) strike own sticks L over R and R over L (ct 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
f 2 waltz steps to proper places Strike sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
g Repeat (a-f) starting L and standing by R to R shoulders with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
h Repeat all (a-g) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE IV Music D Partners face each other
a Repeat (a) of FIGURE I Finish by moving 2 small steps to get close to partner at center on last 2 cts Of M helliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip2M
b Waltz step R Hold sticks parallel to each other swing own sticks together from R side and strike both sticks with partner (ct1) strike own sticks R
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
230
over L and L over R (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
c Waltz step L Swing own sticks from the L side and strike partnerrsquos sticks together (ct 1) strike own sticks 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
d With a spring step R placing the L heel in front to be in one line with partner at center by L shoulders trunk erect (cts 2 3) Open arms at the sides without strining sticks (ct 1) strike own sticks 2x with trunk erect (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
e Repet (d) of FIGURE II helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip hellip 2M
f Repeat (d) of this FIGURE stepping R helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
g Repeat (f) of FIGURE II starting with L and standing R shoulders helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8M
h Repeat all (a-g)
helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE V
Music E Partners face each other
a Repeat (a) of FIGURE III helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
b Waltz turn R (2M) moving obliquely forward finish facing each other in a single line at center Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip helliphelliphelliphellip 2M
c Stand Strike R stick once with partner (ct 1) strike own sticks together 2x (cts 2 3) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d 2 waltz steps to partnerrsquos place finish facing each other Strike sticks together 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 2M
e Repeat (a) to (d) and finish in proper places Strike L sticks together with partner helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 8M
f Repeat all (a-c) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
231
FIGURE VI
Music F New formation Audience X 1 O X 2 O X 3 O X 4 O 6rdquo
One set of dancers
Pairs 1 and 2 form a square Pair 3 and 4 do the same
All face the center of each square
Simultaneous movements of Girls and Boys
Girls
a 2 change steps to center and finish by R shoulders
Strike own sticks together 3x to a measure R over L
L over R R over L
2M
b 2 change steps R L in place Strike sticks together
with opposite (ct1) strike own sticks 2x (cts and 2)
2M
Repeat movement
c Turn R about to be by L shoulders repeat (b)
2M
Boys 8 change steps R L alternately
8M
d Girls perform Boyrsquos Part while Boys perform Girls part
8M
e New Formtion
Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O
All repeat (a) to (d)
8M
f All Face partners and repeat (a-d) with partnerts
8M
FIGURE VII
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
232
Music G Partners face each other All stand in place
a Bend trunk down Strike own stick 3x to a measure on floor or close to the ground helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Straighten trunk Strike sticks in front at waist level helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1M
c Raise sticks overhead Strike sticks overhead helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
d Place hands behind waist Strike sticks from behindhelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat (a-d) 3x more helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip12M
f Face about away from partner and repeat all (a-e) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16M
FIGURE VIII
Music H Circle formation facing clockwise
a 16 waltz steps Strike own sticks 3x to a measure helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
b Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 16M
FIGURE VIII
Music H Double circle formation with Boys and Girls outside Girls hold their 2 sticks horizontally and parallel to each other R stick at head level and L stick at chest level
a Boys face their partners while Girls hold their stick firmly in front Boy- strike sticks across Girlrsquos sticks R hand up and L hand low 3x to a measure (cts 1 and 2) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
b Girl ndash 3 step turn R still holding sticks as in (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M Boy 3 step turn R moving to face the next Girl at his right
c Repeat (a) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
233
d Repeat (b) helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip 1M
e Repeat movements (a) and (b) partners meet each other exit helliphelliphelliphelliphellip12M
This activity aims to assess your mastery of the basic steps in folk dancing its
step pattern and counting Complete the following table by filling in the correct step pattern and counting of the given basic steps Basic Step Step Pattern Number of Counts in a
Measure
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
Were you able to understand the dance
literature Can you interpret each step-
procedure correctly If so
congratulations Just in case you have
difficulty interpreting the dance
literature please feel free to ask your
teacher for clarification before going
to the next activity Now let us check
your understanding about the dance
literature that you have just studied
Let us see if you can apply the
knowledge you learned through the next
activity
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
234
Heel and toe polka Place heel touch toe step close step
Change Step 1 2 3
Slide-cut-hop 123
Touch Step Step (R)Point (L) -
Mincing 123
Sua-Sua Step 1 2
Waltz turn Execute 2 waltz steps to make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1 2
This activity aims to assess your mastery of the essential understanding by completing these unfinished statements 1 I learned that________________________________________________________ 2 Folk dance costumes tell about the ______________________________________ 3 Folk dances differ in _______________ because ___________________________
Activity 15 OPEN-ENDED STATEMENTS
Did you get a perfect score If
so well done You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity Goodluck
Part III- WHAT TO REFLECT AND UNDERSTAND
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
235
4 ______________ can be a way to enhance an individualrsquos____________________ 5 I feel I am _____________________________________ in performing folk dances 6 Folk dances are beneficial to onersquos health because __________________________
Self- Check
Draw a checkmark in the appropriate line that corresponds to your answer
To what extent did youhelliphellip
1 learn the dance steps ___________to a great extent ___________to a moderate extent ___________to a lesser extent
2 execute correctly the dance step combinations ____________to a great extent ____________to a moderate extent ____________to a lesser extent
3 memorize the dance ____________to a great extent ____________to a moderate extent ____________to a lesser extent
4 express your emotions and feelings on the dance ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check
In your activity notebook copy the numbered statements and put a checkmark on the space before each number that best describe your performance
___1 I enjoyed executing the dance steps ___2 I danced gracefully ___3 I followed the instructions given by the teacher ___4 I cooperated well with the group ___5 I performed the basic movements correctly Reflection Write your answer to these questions in your activity notebook
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
236
1 Have you ever thought of expressing your feelings through the dance you performed in school Explain
2 Do you find dancing an effective way of expressing yourself Justify
In this phase you will perform your folk dance to the class and it will be rated according to these criteria Choreography and Artistry execution and Mastery of the steps) Change criteria for Mastery Performance Staging
Part IV- WHAT TO TRANSFER
Activity 16 CULTURAL SHOWCASE
Yoursquore Great Being able to reach this far is a
clear indication of your passion to learn You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
237
1 Go to the school gym for your culminating performance If you donrsquot have a gym set the classroom in a manner that can provide enough space for your performances
2 Present your folk dance to the class (costume props accessories and make-up are highly encouraged)
3 Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference
4 Your teacher will sequence your performances drawing of lots 5 Guest observers may be invited to witness the activity including your parents
friends or relatives 6 Provide feedback on the performance of other groups
1 This time come up with a creative documentary from participating in folk dancing You may consider doing a portfolio a narrative or a visual presentation of the experiences insights and benefits you gained
2 Invite one member of your family to the class and have himher share hisher experiences as a folk dance performer when heshe was still young and how folk dancing created impact on family solidarity and wellness in hisher lifestyle
Activity 17- CREATIVE DOCUMENTARY
Well done You are now about
to reach the finish line I know
how tired you must be
However there is one more
activity that you need to
accomplish before finishing
the race This time letrsquos check
your creativity and artistry by
doing the next activity below
I know that you can make it
Carry on
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
238
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family
An activity becomes more meaningful when done and participated in by the
whole family The support given upon watching and applauding a family member
LESSON VI
Wow You did it well Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well After this phase
what do you intend to do to enrich your
gained Wouldrsquont you like to share what
you learned to your friends family
members or to your community The next
activity will allow you to promote folk
dancing as a form of physical activity Itrsquos
a good journey after all
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
239
boosts ones confidence and self esteem It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres Somehow yoursquoll be learning different culture through folk
dances while spending leisure hours together Furthermore these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace poise and even help in maintaining good health for you and your
family members
Suggested Activities 1 Together with your family you may join in a field demonstration during your
campusrsquo Foundation Day or in a stage performancestreet dancing during your town fiesta
2 You and your siblings can also join contests on Philippine folk dances 3 Your family can go to theaters or museums to watch folk dance festivals and
presentations
SUMMARYSYNTHESISGENERALIZATION Now that you are done reading this learning material Irsquom pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin historical background dance steps and step patterns dance interpretations and performance You discovered that just like any other sports or a game dancing is also a physical activity that can promote lifelong fitness and wellness It is a good source of exercise that could help develop grace and poise It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance flexibility and strength Surely this module has enriched your mind to explore the wonders of folk dancing
In lesson 1 you have learned the significance of the origins and locations of folk
dances by identifying the performersrsquo costumes and music Here you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China Malaysia Indonesia Burma Cambodia Thailand and Japan
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos You discovered that rhythm plays an important role in the performance of the dance Feeling the beat and rhythm of the music is a motivating factor for them to perform well
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan Tiklos Sakuting Sua-Ku-Sua and Pangalay It enabled you to enhance your dancing skill and motivated you to show and share the
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
240
steps yoursquove learned Thus you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent
Moreover Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular dance It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances
Meanwhile Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan Sakuting Sua-Ku-Sua Pangalay and Tiklos Those insights enabled you to perform the dances appropriately and gracefully In this part you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps step patterns and counting
Finally Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days It also gave you time to bond with your family members by watching culminating activitiescultural shows which gave you a chance to develop family solidarity as well as family wellness
We hope that through this module you have become more acquainted with the
significance of folk dances and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life
GLOSSARY OF TERMS Accent - emphasis on a beat usually but not always the first beat
of the measure Acculturation - a process in which members of one cultural group adopt the beliefs and behaviors of another group Culture - the totality of socially transmitted behavior patterns arts beliefs institutions and all other products of human work and thought Dynamics - an interactive system or process especially one involving competing or conflicting forces Folk dance - a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country or region Folk dancing ndash a great exercise and a fun recreational activity for people of all ages Implements - a device used in the performance of a task Improvisation - created extemporaneously without planning
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
241
Intensity - in music the loudness and softness of an accompaniment
in fitness the degree of vigor or the amount of effort expended during an activity Lifelong Fitness ndash the condition of being fit and healthy throughout life Tempo - the rate of speed from fast to slow Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation a custom or usage
Wellness - a way of life purposely designed to enjoy the highest level of
health and well-being possible including nutrition weight control avoiding substance abuse being physically fit
and leading an active life controlling stress developing good relationships with others living with high values and
ethics and attending to spirituality
References
BOOKS
Hiyas Philippine Folk Dance Company Barrio Fiesta Suite
Filipino Songs Atbp Philippine Folk Dance History
Campers Point Philippine Dance
Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
MAPEH for a Better You by Jocelyn V Bautista Ma Rosario C Franco Josefino N Carlos Danilo S Duyan Emilio S Jacinto Jr Rosanna A Diana Alvenia P Palu-ay Hazel P Copiaco and Gloria M Gacoscosim
MAPEH II by Vilma V Perez Lilian N Luna and Crisanto E Tomas
A Classical Collection of Philippine Golk Dances Series 4
Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol
12 and 4 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
243
242
The History of Filipino Folk Dance | Howcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKkEfja November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RK6wqx1 November 28 2012
The History of Filipino Folk Dance | eHowcom httpwwwehowcomabout_6558571_history-filipino-folk-dancehtmlixzz27RKzSk8d November 28 2012
httpwikianswerscomQWhat_is_sua_sua_folk_danceixzz27XedpW18 November 28 2012
httpwwwbangkokcompaniescomDancephilipinnesdance1jpg
bpblogspotcom_LgNn7UyFJLcSvPQXKIpG4IAAAAAAAAB3AdjYNO26rbPks400leyte+dance+Theatrejpg November 28 2012
http1bpblogspotcom-tcDLOUN0BlITbYivw6NsAIAAAAAAAAACEMFbsNavnvNos1600singkiljpg November 28 2012
httphomeallgameshomecomresultsphps=philippine+folk+danceampcategory=imagesampstart=1 November 28 2012
httpwwwyoutubecomwatchv=8QApCK1lTrU November 28 2012
wwwkalilayancom November 28 2012
httpimagessearchyahoocomsearchimages_ylt=A0PDoX5F909Qah8A0iSJzbkFp=pangalay20danceampfr=yfp-t-521-sampei=utf-8ampn=30ampx=wrtampfr2=sg-gacampsado=1 November 28 2012
asukacarameldeviantartcom November 28 2012
wwwpinoyexchangecom November 28 2012
httpwwwflickrcomphotos14280206N03 November 28 2012
wwwfiestafilipinaorg November 28 2012
wwwpanoramiocom November 28 2012
wwwplaylecom November 28 2012
archivespiagovph November 28 2012
Pangalaydancecomthe-pangalay-dance-style-of-the-philippine-an-intangible-cultural-heritage November 28 2012
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