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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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