Grade 8 Learning Materials Under the K to 12 Currieuum MAPEH Grade 8 Physical Education Fourth Quarter Regional and National Dances with Asian Influence INTRODUCTION ‘Kumusta! Naimbag nga aldaw! Meayong buntag! Como esta usted? Assalam Malaykum! Helo Grade 8 learners! Hows your day? | hope that you are es strong, energetic, athletic and compeitve 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 nave leamed to perform examples of local and Indigenous dancos. You also leamed to value them in ordor to maintain good health and eventually realized that ‘ok dancing is indeed a good recreational activity. Just like any other sports er 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 tho offect of acculturation, indigenous dancos of the Philippines may have been modified since the cuture of other countries has influenced our very own dances. Thic is evident in tho western siylo adopted in our folk danoos. Along with ‘his are the influences of our Asian neighbors that have enriched our national dances ‘o large extent. tis for this reason why there is a need for you ta understand our cultural roolby 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. Furhiermore, this module anchors iis framework on the holistic approach of using regional and national dances as potert sources for staying healthy and fit. At the same time, they are prime educational tools for learners lke you. 181OBJECTIVES: At the end of the lesson, you should be able to + discuss the orign and location of folk dance through its costume and music. * execute selected regional and national dances with Asian influences such fas 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 influonce, here aro some basic ideas or concopts which will load you to answor {ueries relative to performing these regional and national dances. Part I- Examine the following pictures and anwer the accompanying questions. 18a1. What general concept can be derived from the given pictures? Eplain. 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 intluenced 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. Canyou 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 fok dancing? Does it speak of something? 7. Gan you rame examples of Philppine fok dances that have Asian influence? Can you demonstrate examples of foreign iolk steps? What are ther step atterns? 8. Whatare the inplements that ars commonly used in folk danoes wih 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? rs of This me irher. wl ‘ere arte a are your pxpecfations? ite in your acaidty sheet your awn learning Goals cn, elation Vfo” Sr sibjee Bree: langle. 2 learning aba is basis in makene Your own. Example: | expect that at the end ofthis lesson, | will be able to identify and leam (SRameles of*ESonal and netotal lk dances wih Asian infusnce Sen 183Bees, ae Yor PEM cee! eae ens ae ra, srl oa Cae ‘of he regional and nati days ‘Asian your Journey starts now ‘Beodluck & PARTI: WHAT TO KNOW LESSON | Leaming Goal: Describe and discuss the nature and characteristics of the dances. Philippine folk dances speak 30 much about the heartbest of our poople for ‘hey tell about our customs, ideas, beliefs, superstitions, and events of daily ving in a certain community.Just by looking at the costumes. props, ard implements of a certain group or tribe would tell you of the origin of the dance. The kind of music being used readily also tel about the influences brought about by trade and settlement of our neighboring counties such es China, Malaysia, Indonesia, Burma, Cambodie, Thalland 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 cur 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 contrioute to the vory 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 tha nature and background of these regional and national folk dances. This will help you 184understand its significance and cultural value, including the beauty and complexity of the people's livas living in those places. Study these dances carefully and imbibe in you their importance to the development of cultural value. BINSLAKAN (Lingayen) Dance Researcher Francisca Reyes Meaning With the use of sticks Dance Culture Chistian Lowland Place of Origin Pangasinan Country of Influence China Ethno-linguistic Group Pangasinense Classification Social Dance Background: Lingayen in Pangasinan means having to look backward and upward. Itwas derived from ‘Li-King-Tung’, a Chinese word given fo the name Lingayen, the capital of Pangasinan, by the Chinese setters of this piace along time ago. The barrio folks who lived at Almazin, a small place between barrio Pangasinan (Pulong) end Maniboc danced this to commemorate the stay of Limahong. a Chinese pirate who built his kingdom here. The dancers look backward or upwardin some of the movements; hence, the name Lingayen. They also use two sticks to produce thythms 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Dance Propet Costume Female Male Music Count Formation Dance Researcher Meaning Daneo Culture Place of Origin Country of Influence Ethno-linguistic Group Classification Siesgo and kimono with loose and long sleeves and soft panuelo Camica de Chino and red pants 2/4 composed of two parts: A and B. One, two, one and two, and one and two and Pariners stand sbout six feet apart One or more pairs in aset.can take —_partin the dance, in any formation desired. SUA-KU-SUA Ramon A. Obusan My Pomelo Tree Lowland Muslim (Coastal) volo, Sulu China, Malaysia and Indonesia : Tausug Courtship DanceBackground/Context: The Tausug of Sulu, Southem 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. Atharvest 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 sua's 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 lapping two white fans each resembling leaves rustling in the wind in the Sua-Ku-Sua Dance. ‘Sua ku-sua performers, some mon but especially women come to the ‘estivities with tace thickly covered with finely ground rice powder and thelr eyebrows and sideburns enhanced with soct- all for boauty’s sake. Movements:Steps Particular to Dance: Creative imagery: Fans transform into tiny sails, faze mirors, butterties, shiolds and loaves. Tausug traditional stops with Chinese influence. Dance Propet Costume: Fomal ‘Top (Barawasi) Traditional loose blouse, long sleeves wit oop, plunging key-hole necklina, Exra panels attached 00 the rigit and left chest decorated with many tiny brass buttons. Material : Cheap printed or plain Chinese sikor cotton, Pants (SawalorKantiu) : Loose Chinese pants with a 10-inch soft white bang (coco curdo) attached to a wide waist. To tuck the pants in, the whlte band is ‘ever'apped in front, one side on top of the other and rolled out to form a tight belt. Material + Cheap Chinese silk or any siky material preferably in navy blue, sunshine yellow, grass green, red or orange colors 187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. Geld or brass fligree called tusuk; 2. Paper bills pasted on siendar sticks; and 3. Pasteboard cut-out, the fronttp & to 10 inches high, similar to Chinese crowns covered with gold fol Accessories : Geld or imitation gold earrings, necklace, bracelets and brooches. Suggested Footwear: Dancers are in barefoot. Male: Top (Bajo) Short-waist collarless shit. Qpen at tho frontwith the right panel overlapping the lof, studded with many tiny brass buttons and is not intended to close the front but usod as an additional shit decoration. Itie allowed to drop on the right side. Material 2 cheap printed or plain Chinese sik or cotton. Pants (Sawal or Ken): Simiarto the female pants but in darker colors and boldor designs. ‘Accessories 2 Money-belt, Sarok nat, pis siyabit (rectangular hand-woven scat tod on the head or hung loosely over one shoulder); Kiis (wavy knife) or Barong (leaf knife). ‘Suggested Footwear dancers ara in barefoot Music 1 21dand 4/4: composed of three parte: A, B and ©. Gabbang- bamboo xylophone shaped like a small boat. Bamboo slats thinned and cut to graduated sizes to produce three ‘ociaves of pentatonic scale Count 1,2 10ameasure in 2/4 tme signature 1,2,8, 4 to a measure in 4/4) tima signature 188PANGALAY Dance Researcher Francisca Reyes-Aquino Meaning Finger nail Dance Culture 2 Lowland Muslim (Coastal) Place of Origin Suu Country of Influence : Thailand, Malaysia, Burma, Cambodia and Indonesia Ethno-linguistic Group Tausug Classification Social Dance Pangalay (also. known as Daling-Daling or Mengalai in Sabah is the traditional “fingernail” dance of the Tausig people of the Sulu Archipelago and Sabah." This dance is the most distincively Asian of all the Southern Philippine dances because dancers must have dexterity and flexibility of the shoulders, elbows, and wiisis™ ~ movements that strongly resemble those of *kontaw silat.” @ martial art ‘common in theMalay Archipelago. The Pangelayis performed mainly during weddings or other festive events “ The male equivalent of the Pangalay is 189the Pangasik and features more martial movements, while a pangalay that features both a male and female dancer is called Pangiluk The criginal concept of the Pangalayis based cn the pre- Islamic Buddhist concept of + malo and femalo.—cclostial_-—angols (Sanskrit: Vidhyednan, Bahasa Sug: Biddadan) common as characters in other Southeast Asian dances. Danee Propo Costume Accessories Dancer wears a typical Joloana costuma Expert and professional dancers use janggay, ‘exiended metal finger nails in each finger. The rich people have janggay made of solid gold or silver. dancers are in barefoct, Played as many limes as necessary. Count one, two or one, and, two and to a measure. Suggested Footwear Music Movements’Steps Particular to Dance: There are no definite drections, sequence of figures, number and kinds of steps, hand movements and positions usad when performed by the natives. For teaching purposes the figures of this dance may be crealed and dancers may form ‘heir own combinations TIKLOS, Dance Researcher Meaning Place of Origin Country of Influence Classification Francisca Reyes- Aquino Refers to a group of peasants Panay and Leyte China, Burma and Cambodia Recreational Dance 190‘wwewfolkdance.tk Background/Context: For centuries, Tiklos has been a very important factor in the social life of the poasants of Loyto. Tiklos rofars to a group of peasants who agreo to work for oach ‘other one day each week o clear the forest, prepare the soll for planting, or do any ‘odd job in the farm, including the building of a house. At noontime, the people gather {o eat their lunch togather and to rest. During this period, Tiklos music is played with a flute accompanied by a guilar 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 = Danoars are dressed in working cosiumes. Music Divided into two parts. A and B. Count ‘one, two or one, 2h, two, ah or one, and, two to a measure. Formation : Partners stand opposte each otrer about six feet apar. ‘When facing audience, the gi stands at partners right side ‘One to any number of pairs may take part in this dance. 192SAKUTING Dance Researcher 2 Francisca Reyes Aquino Meaning Refers to rhythmic sticks producing the ‘accompaniment for the dance. Place of Origin ‘Abra and llocos Norte Country of Influence China Classification + Recreatinal and Social Dance Background/Context: This is a dance of the ethnic people living in the westein side of the Cordilleras way back before the coming of the Americans to our country. Dunng the Christmas, young boys and gis accompanied by ther elders would go to the lowlands, especially in Abra and Ilocos Norte to dance in iront of the houses and ask ‘or 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, homomade dalicacies and other things. These dancing groups later reached as far as the coastal towns of tlocos region as years went by. The rinythmic sounds produced by the stick attracted other chien and also adults and they also learned the dance. *Sakuting*is an ethnic term which refer to the rhythmic stcks producing the accompaniment for the dance. 192Dance Propet Costume — = Girl— Native llocano kimono style with sleeves of elbow length: skirt of bright-colorad plaids shirred at the waist of ankle-length. Boy ~ Camisa de chino and red trousers, and a native hat. Music 2 2/4 and Y%rhythms and composed of 9 parts : A. B.C, D, E. F.G. H and I Formation: Audience oxox xoxo ‘One set of dancers Written Check-up: Below are jumbled letters which when arranged correspond to regional and national dances. Can you identity each? On a page in your activity nctebook put numbors from 1 to & Write each formed word on the space provided bofore each number and try to Shere your knowledge about i. 1. GANAPYAL 2. LABISNIKAN “3: ASU UK ASU a 4. SIOTLK 5. GIKNATUS 193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 creste 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. B. In your aciivity notebook or sheet, copy the table as shown and fill it in with Information called for. Name of | Literal Place of Dance influenced Dance Mesning of | Origin Classification by what the Name ot Asian the Dance Country? SuaKu-Sua Social Dance China. Maleyela, _ _ Indonesia ‘With the use| Lngayen, oisicks | Pangasinan | Sakuting [Abra Social Dance Tiklos ‘Agroup of | Layte Rocreatioral' Social peasants Dance Pangalay T Weiding Dance | Malayaia 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 thal will be a lot better. 194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. ( ‘Aallity 17 Tracing the origin and location ofa Dance through lla costume. WHERE DO! 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. Ima choot of paper, write the place of origin of the dances you saw in tho video presentation by recognizing the costumes and props, facial expressions and body gestures of the performers. Your teacher here wil show you a video presentation of different dances with Asian influence like Singkil, Kappa Malong, Pangalay, Sua-ku-Sua, Sakuting, Binislakan, Tiklos ate. If video presentation is not possible, your teacher will snow 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 bNisayas c.Mindanao, 195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 gome important points, ask your ‘teacher to help you analyze the lesson befere doing the next activity. Activity 2: DRESS ME UP! This eotivity will actvate your knowledge cn the location and origin of folk dances based on tho costumes wom by the dancers. Study the procedures given and do whatis asked of you to pertorm. This could be an individual or group actwiyy. + Propare @ miniature boy and girl dancers made of eartalina 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 ther facial expressions. + Be ready to share your knowledge bout the origin and background of the folk dances considering their costumes, expression and implements used. Justify your 196ike 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 A reeded for the dances cited, = Rhythmic Patterns of Selected Regional and Netional Dances with Asian Influence ‘Activity 3. Listening While Playing 197 1. Close your eyes and listen to the recorded music of Sua-ku-Sua and Pangalay. Whatis the time signature of the music? Is it done in duple, tiple, or quadruple meter? Why do you say so? 2. Feel the beat and chythm 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 come rythmic improvisations using the came music. c. Use any materials that could be used as percussive instrumenis as in beat-box and produce rhythmic sounds. 4. 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 Tixlos, Binislakan land Sakuting.Well done! How did you fee! while performing the activity? De you think that feeling the beat ond rhythm of the music plays an important role in any dance performance in so far s_ proper timing is concerned? You will find the answer after doing the next activity. Part Il: WHAT TO PROCESS > in this activity, youll learn the importance of rhythm in the perfonnance of folk dances. Activity Get Loud! 4. Your teacher will group your class into four. 2. Using any medium for sound producton, 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 diferent rhythmic combinations for 16 measures to be played simultaneously with your groupmates. You can use any of the following that could produce sounds: clapping your hands slampping your feetproducing vocal sounds snapping your fingers Using ary matarals as percussive instruments aece 198199 |. This time, create rhythmic combination using the triple meter for another 16 Always observe the principles of accert. intensity, dynamics, and tempo in your routine. Atter a ten-minute rehearsal, perform your output in class. Perform the rhythmic combination in douple meter frst, then the triple meter or vice verse. Refer to the following rubrics to be used for evaluation, Aer the group performance, discuss in class the importance of rhythm in the porformance of iolk danoo,ANALYTIC RUBRIC FOR THE ASSESSMENT OF LE ARNERS’ PERFORMANCE IN RHYTHM ‘Weight Musicality Degree of Difficulty | Characterization (Timing, Dynamics, | (Complexityand (Behavior During ‘and Mastery) Intricacy in the Uso Performance) of Rhythmic Patterns in Various Meters) 40% 40% 20% (MASTERFUL Performs SKILLFUL: Creates Sill MATURE: Demonstratos rhythmic compostionwith | composition ofcomplex | proper characterieation and 5 | bigh level ofmusicaity while | andintrcate rhythmic | appropriate behavior inthe observing propertiming, patterns in duple, tiple, | performance and with high ynamicsand mastery and quainuple meters. | level of confidence STRATEGIC: Performs COMPETENT: Creates 9 SENSITIVE: Demonstrates rhythmic compostions with | certain degree of skilfal | proper characteriation and 4 | cettainlevelof musicality | composttionofcomplex | appropriate behavior in the alle observing proper timing, | shythmic patternsin pertormaree and wy 3 and mastery but with limited | duple, tiple, ard serra level ef em tioense ablity to pefom with ‘quads pla motors. aynamics 3. | ABLE: Performs dhythmic | PRACTITIONER: Creates a AWARE: Demonstrates compositions with mastery | commonly accepted generally acceptable and Imited but growing ability | composition ofsimple | characterization and proper toperform with Uming and | shythmic patens in behavier towards the aynamics duple, tiple, and performarce andwith a ‘quadiuplemeters, ‘certain level of confidence ‘APPRENTICE: Performs ‘APPRENTICE: Creates | DECENTERING: Displays ehytimiccompesitions with | shythmic patternsbut | inconsistent 2 | generalmastery but could | couldharay distinguish | characterization and hardly adapt to varying Aiforncos among éuplo, | demonstrates low level of dynamics and timing triple, andquacruple | confidence meters NOVICE: Performs rhythmic | NOVICE: cannot create | EGOCENTRIC: Has litle or patterns with bw or no any rhythmic pattern at all | no characterization and ._| mastery timing, and dynamics behaves inapproprietely 200 towards the performanceYoure smart! Now I think ‘) esr ready forthe next activity which ismare chalenging than the prewous one. Keep going, © a a PART Il WHAT TO REFLECT AND UNDERSTAND Activity 5 Fill-inthe-Gap > 201 In this activity, | have leamed to realize that 2. can create thythmic patiems by _ and using amy 3. To be able to make rhythm complete, tho principles of accont, intensity, and____ should be observed. 4. Tean make my life more colourful and meaningtal by beng _____inthe same manner as it can be applied to music. 5. For me, ihythm is just a8 imporiant as because without it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 UL ary dance. PARTIV: WHATTO TRANSFER =, Activity 6- DANCE INTO THE GROOVE! po With the sare grouping that you had in Activity 4, Let's Get Loud, perforn 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-mprovisaion using any hand or body movements that would jibo 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 202asown womens’ Sestha Si tox eecpncs i ocean activity is a good indication of good health beceuse your heort beats faster as it pumps harder while dancing Yeu know preity well that dancing is a good exercise, thus, you are keeping your heart healthy Since. you have already started doing some movements, it's now time for you to test your own dancing skills by doing the next activity. Enjoy and have fun while mastering the rudiments! LESSONIIL Basic Steps in Folk Dancing In this lesson, you will be made familiar with the basic steps and arm movements of the dances: “Binislakan, Sakuting, Sua-Ku-Sua, Pangalay and Tiklos". This will give you a clear understanding of the nature of these folk dances, If you siudy the literatures of these dances found at the end of this module, you wil notica distinct steps and movements that aro inhorentin 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 danca steps which will be used later in your performance test. Study them cerefully and demonstrate the dance steps with the help of your teacher. Pedyak - to stamp or tap with one foot and the weight of the body is on the other foot Saludo = itmeans io bow ‘Anns in Latoral Position both arms aro in one side at shoulder lovel, either right or left Set = adance formation of two or more couples Band to move tho body or part of the body around wide Leap = to spring one foot and land on the other foot 203Study and cnalyze the following table. The information given will be needed in your dance performance. Stay focus! ©) No. of counts or Dance Step Music Used Mper step Step Pattern Siide (glide) Bid of 4 1M side, close Skip 24 01 68 ict step and hop Biking 214.0r3/4 | 1,BorScts. | heel place, close Gallop 24.01 68 ict |'step and cut asmanyas | step, step, stop and so | Mincing eaorsis | requir on ‘as many as | Parallel Tortlier 2/4, 914 or ava required _| pivot and tun heels, pivot | [and urn toes Pivot Turn 26, 2M or 4M___| Step. ball andturn, step. ball and tum and so on. | Touch Step 24 01 3/4 Touch ,close Chango Stop 24 oF 3/4 Stop lose Stop Execute 2 waltz stepsto Walz wen 24 o1 3/4 aM make a tum Step R:step L close to R Watz stop 24 oF 3/4 2M in roar; stop R Stamp(R) () and dose Stamping 24 01 3/4 1M to supporting footiL] (R) 206Your teacher will guide you in using the following legends in the interpretation and executon of a particular dance step. M = Measure ‘orward Backward Right eft ~ PARTE WHAT TOKNOW > —— ‘Activity 7: Tell Me! In this part, you will be given basic steps, arm and bodily movements that are used in Binislakan, Sua-Ku-Sua, Sakuting, Pangalay and Tiklcs. Identity what is being defined. 1, Both armsare in one side at shoulder level, either right or left. 2. To stamp or tap with ane foot and the weight of the body is on the other foot. 3. To spring ono 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. Congratulations for having gone this far! Reaching this port is a clear indicotion of your willingness to leam more. Now, maximize your potential by memorizing and performing with mastery the basic steps of the regional ‘and rational donces, 205PART Il: WHAT TO PROCESS I* ly 8: DANCE WITH MI In this pert, you will be given practical applications of the basic steps, arm and bodily movements used in Bnislakan, Sekuting, Tiklos, Sua-Ku-Sua and Pangalay. Read the instructions and make sure to follow them correctly. * Look for 2 partner and execute the rhythmic steps or dance steps that aro commonly used in Binislakan, Sakuting, Sua-Ku-Sua, Tiklos and Pangalay. Out of the dance steos you learned. create dance-step combinations. The following rubric wil be used to evaluate your performance. 208ANALYTIC RUBRIC FOR THE ASSESS MENT OF LEARNERS’ PERFORMANCE IN FOLK DANCE, Weight | Choreography and Execution and ‘Characterization and Artistic Presentation | Mastery of Stepe Behavior During Performance 0% 40% 30% (OUTSTANDING: Performa | SKILLFUL: Demonstrates | SOPHISTICATED: steps with hgh levelof | precise and skilful Demonstrates sophsteated 5 —_|masterywhilecreating _| execution ofthesteps | characterization and several formations in the | with igh evel ot appropriate Denavir dancefloor confidence ‘towards the dance and groupmates DYNAMIC: Pesfoims steos | COMPETENT: EXPRESSIVE: Demonstrates with mastery while creating | Demenstrates the steps anatypeca level of 4 | sulfcientformatonsin the | competently andwth | characterization and dancefloor confidence appropriate behavior ‘towards the dance and sroupmates (CREATIVE: Performs steps | PRACTITIONER: REALISTIC: Demonsirates ith mastery but wth Demonstrates general | gonoraly accoptable limited yet growing abilty | levelofccordination and | characterization an¢ proper roexeaute themwhile competence in the behavior towards the dance 3 | sTeatingformationsin the | executioncfsteps with | and groupmates dancefloor limited but growing confidence FAIR: Performssteps with | APPRENTICE: IMPROVING: Displays general mastery Sut could | Demonstrates limited | inconsistent 2. | hardly adapt to varying | coordination and characte ration ang foimations h the dance | campetonce in the demonstrates gonerally ttoor executionotsteps with | acceptable benavor low levelof confidence | towards the dance and groupmates STATIC: Performs steps with | NOVICE: Hasvery low or | MECHANICAL: Has lite or low or nomasiery and isnot | 90 coordination in no characterization and | capable of ceating Gemonstrating steps; has | behaves inappropriately foimations h the dance floor very low level or 90 confidence at all towards the dance and groupmates 201(‘In your performance, what grade ae you receive? Are you satisfied with it? Tf your grade is low, would you want to improve your performance if given another chance by your teacher? Tf you got a high grade in your performance, wouldn't you want to share your expertise to your fellow dassmates who are still novice? What do you think? Partlll: WHAT TO REFLECT AND UNDERSTAND ~~ ( Activity 9: No Man Is An island! Ths actity aims to enrich your mastery skils in performing the dance stops correctly while building cooperation and goodwill with your dlassmatos. 1. Group yourselves into two. Group A for those who are familiar with the dance and Group B for those who are still quite unfamiliar with the dance. 2. Those in group B should choose a parinerin group A. 3. Your teacher will provide a list of step patterns with a minimal set of combinations ard directions for you to execute. 4, Holp each other in interpreting correctly the stop patterns provided. 5. Your teacher will supervse you as he/she guides you in doing the activity, 6. Atter the given time alloted by your teacher, a performance assessment wil be given, 7. Try to provide feedback on the periomance of the other groups. 208How did you feel while doing the activity? Tf 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? ol Inlife, we need one another. We need to cooperate ond help those whe 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 « give - take - process. That wey, we can create harmonious working relationship in our community. This principle is also opplied in the teaching - learning - process of a dance performar (~Tomeasure how effective this activity is, you will now demonstrate more cooperation and harmony by ‘showing bet ter performance through the rext activity. Let's see if you have improved. Ke 209PART W: WHAT TO TRANSFER Activity 10: Watch Me! This activity will help you check your knowledge of the basic rhythm and step pattems of folk dances. The leaders of the four groups shall draw lois and periorm what is written on the drawn sheet of paper. Perfo the dance steps correctly in figures 1 3 of Binislakan. (Group A) Execute the dance staps correctly in figures 4-6 of Binislakan. (Group B) Perform the whole dance properly with music accompaniment. (Group C) Make a prelude of the dance Binisiakan by presenting a typical scenario of what is commonly seen ina barrio. Storyline should be related to the thame or cultural background of the dance itself. Beye Note to the Learner: (Your teacher may select any of the five dances which will be used in the performance.) How was your dance pareve Do you honestly believe that you performed a lot better this time? Moy Take note that performing does rot only mean dancing gracefully. Proper expressions of the face and body gestures ore also important to show the emotions needed in a particulor dance. The next activity will teach you the significance of gestures and hond movements in finding the meaning of a certcin dance. noIn this lesson you will b able to identify the meaning of the gestures end 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. dust a simple movement of the hand or even a smple 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 gastures and hand movements as you read and interprat the dance literature of folk dances later. 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. Part |: WHAT TO KNOW GRAND TABLEAU This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will lator be needed in the performance of Folk Dances. The following instructions will be faciltated by your teacher. a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 ot paper deserises one particular scene to be portrayed by the group. For one minute, you land your groupmates will conooptualize a typical scenario given these situations: a. Fishermen pulling up their fishnet ‘rom the sea b. Farmers harvesting bountiful grains «. Fiosta colobration of your town d. Wedding ceremony e. Aman courting a lady 3. Alter conceptualization, another 10 seconds will be given for your group to act out the scanes that you have planned, exhibiting the proper facial expressions and. hand or bodly gestures. 4. Aer the activity, your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities Ike dance, music, theater and other performing ars. ——___s — Pant T:WHATTO PROCESS ~~. Did you have fun doing the activity? T guess so, Now, you are ‘tasked to apply these learned skills into the next activity. Applying emotions and gestures to the step ptterns that you've leamed will be more exciting. Good luck! Have fun @ ‘Activity 12- IT’S SHOWTIME! This activity aims to amplity your learned skills in expressing proper emotions in specific situations which are needed in any performance. a21. With the same grouping, you and your groupmates wil be asked to develop a story using the thema you have drawn eerler and perform it through movements. Expressing the right emotions needed in the given situstions should be observed. Twoto three minutes will be allotted for each group performance. 2. Bear in mind that while one group is performing, the other groups wil be instructed tonote their observations. 3. An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question, “Which group do you think performed bast?” Why do you say 30? Part lil: WHAT TO REFLECT AND UNDERSTAND ‘Self- Check: Puta checkmark on the appropriate line. To what extent did you learn the dance in terms of: 1. cultural heritage? toa great extent ‘to a moderate exient toa lesser extent 2. cultural value? toa greatextent ‘toa moderate extent toa lesser extent 3. movements? toa greatextent toa moderate extent “toa lesser extent 4, cultural approciation? toa greatextent toa moderate extent toa lesser extent asReflection re How is life connected to dancing? Con you explain this? In life, we always aim to be successful. One way to attain our goals is for us to sta Focused just like the focus that is needed while learning the steps in dancing. We nee: ‘to put our heart and mind into the things we do to in order to gain mastery. Throug idencing, we mey be able to develop health fitness, such as having cordio-vascula endurance, flexibility and strength which are key factors in achieving success. aC‘ KW Part V- WHAT TO TRANSFER ~~ ‘Aetivity 13: CONTEMPLATION! Anewer the following questions. ‘+ What is the importance of proper expressions in folk dancing? + How are the movements shown in Birislakan, Tiklos, Sakuting, Sua. Ku-Sua and Pangalay reflect he kind of life people fave on those places? + Compare tho expressions oxhitited in the poriormance of folk dance of Luzon with that of Visayas and Mindanao. 2Congratulations! Youre smart ®\, 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! Interpret dance literature of Binislakan, Tikios, Sua-ku- Sua, Pangalay and Sakuting Itis very enriching to be able to interpret a dance literature. Since tok dances are documented, t is always an edge to correctly interpret the text of a dance literature. Herewith are the dance figures of the four dances. Itis hoped that through ‘hese dances, your abiity to interpret dance Iteratures wil 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 it there is still ime for you to lear one more dance or all of the five dances, then that will be a lot better. BINSLAKAN (Lingayen) INTRODUCTION Music Introduction Pariners face audience. (2) Cross sticks overhead; R-hand stick over L-hand stick and look upward 3M (b) Bond trunk forward and bring down point of crosced stickscloseto floor. 7 . Music A. Face audience. (a) Starting with R foot, take four change steps sideward right and loft altematoly, raising altornatoly the L foot and R. foot slightly above the floorjbend trunk sideward right and left aktemately. Stike sticks sideward right and left alternately, three tmes to ameasure, RLALLALL (cs. 1 and} to every measure... AM (b) Execute mincing steps sdaward right. Stike sticks overhead four times to a Measuro, R,LR.LA,L alternately. Look upward... (©) Bond knoos and twist trunk f loft; strike sticks backward RILAlois.1 and 2); look backward tight. eee IM (6) Straighten trunk and stamp fect LR (cis. 1 and 2). Strike sticks R, L, R in front of chest. eM (€) Starting with | foot, repeat (2-d) to opposite direction, stamp feet ER bawicnicasitc sicinctaitastiassa Music B, Face audience. (a) Paw (ike sovatching 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 sidoward right; R hand bord in frontin lovol with head, stick pointing loward audience; L hand down in rear, stick painting sideward left; look at left shoulder (cts. 1.2,1,2), (b) Tap Loot infront two times: bend trunk forward that foot and sirike sticks twice In front close to the tapping foot (cis. 1,and); straighten trunk and step L close to F fool, stike, StICKS ONCE INFFOME weene . (c) Repeat (bj with R foot, band trunk toward A foot. 1M (4) Repeat (a-c}, in reverse direction and position. (e) Face partner and repeat (2-d). neMusic A. Face audience. (a) Jump forward and bend trunk forward. Cross sticks R. stick over L stick Below knee level... (b) Straighten trunk and raise gradually the sti sticks are stil crossed. Look upward... (c) Repeat (a) and (b). (@) Execute mincing steos going backward: arms are in reverse“ position And shiver sticks sideward, Bend head ‘sideward right and left every Wo COUNES sero. (@) Execute mincing steps tuming right about, finish facing away from audience (iM). Raise Ri knee and strike sticks once under it (ct.1), straighten knee feet together and strike slicks once in front (cl.and), raise L knee and strike slicks once under t (ct 2), os Z s 2M (Repeat (a-d), facing away from audience... i ‘eM (g) Repeat (e); finish facing audience. i ks overhead; 2M vv Music B. Partners face each other. Boy and Girl do their movements simultaneously. Gir’s Movernents: (a) Starting with R foot, execute eight change steps geing clockwise around Boy. Strike sticks overhead and at the back alternatelythree times toa measure. Strike sticks at the back. Knoo! on beth kneos on tho last count. eM (Do he mavernents of Bay bolow 2). Fish faing audence.... # o aM Boy's Movements: (a) Knee! on both kneas and strike sticks on the floor at the Tight side three times (cts. 1, and 2); strike sticks ovethead three times upward (1M); stike sticks at the left side on the floor three times (1M); strike sticks overhead three times. (aM. 4M (b) Repeat (a); stand atthe last count... 4M (6) Repeat movement of Git @). Firish facing audence. aM aMusic A. Partners face audience. (a) Take one change step sideward right (ots. 1,2). raise L foot above the flocrin (ct2), bend trunk sideward right and strike sticks to sideward right threetimes to a measure RLR, (b) Repeat (a) three timas more, to deward eft and sideward right altornately. Raise R foot above the floor whan doing the change step to sideward left and strike slicks L,F.L.. (c) Face partner and strike sticks on floor in front, full knee bending R knee lower than L knae (cts. 1 ah,and,2,and). (6) Stand, straighien trunk, and stike sticks, R,LA,L in front (Cis. AS im (0) Joosnnnn. (@) Step R foot foward (ct 1) hop on with parner (cLand), step L foot sideward (ct2), hop on L foot, and strike sticks diagonally left with partner (ct.and). (Stamp fest FAL, sho atch in font ALA (6.1, 206 2) (g) Repeat (a) and (b), facing audience... (b) Repeat (c) end (0). facing audience... vl Music B. (a) Stating with R foot, execute two change steps going forward to meet partner at center finish in one line. Girl in front of Boy facing audionco. Strike sticks throe timos B.L Roverhead (look upward) (cS. 12d 2).nen (b) Statting with B foot, execute six change steps rightand left altemately,Going around clockwise. Stika sticks asin (@). Finish in a circle facing center... (6) Starting with F foot, take four charge steps going toward center. Strike sticks as in (b) (4) Repeat (c). going backward; finish facing right... ‘Saludo Music Finale. ne foot, raise I foot slightly close to R foct, stike both sticks diagonally right head level, 1M eon3M 1M 1M 1M AM 4M 4M 2M 4M 4M(a) Exeaute mincing steps going counter dockwise: finish inline formation‘acing audience as in Figure |, Arms in reverse “T” position and shake sticks sideward; bend head sideward rght and left alternately every two counts. 3M (b) Stamp feet R,L,R and stike sticks overhead R,LA (cis.t sand 2). Look upward. 1M (0) Mincing stops, turning right slowly; finish facing audionco: slicks are sill lossed overhead and looking upward... (0) Feet together, bend trunk slowy forward, bringing down the crossed sticks below knae. Sticks touch floor in the last count. 3M 1M SUA-KU-SUA Introduction Music introduction Pause Music _A. Partners face audience. Throughout this figure, the knees are dighty bent ‘and turned outward. Arms extended sideward with a fan in each hand, (a) Take 22 walking stops forward turning the hand from the wrist down and up aliernately on every count (figure of eight). Bend the head sideward rightand left alternaiely in time with the hand movement. aM Music B Partners face audience. (a) Place R heel forward, arms sideward (cts.1,2), tase ‘six steps in place, move hands asin Figura | (cts. 3, 4:1 2, 3,4). 2M (b) Place F heel forward two times (ts. 1, 2 3,4)... 1M (©) Take four steps turning right about in place. arms and hand movements as in (a) (6) Repeat all (a-c). Finish the turn facing parine Partners face each other. (a) With arms in fourth position, Larm high, step R forwardand raise L ‘oot in rear, turning the hands down (ct.1), stop Lin place, turing hands up(c.2). stop R backward and reise L foot forward, moving R arm to 2 position and tuming hands down (ct.), step L fost in place turning hands up (ct. 8) 1M (b) Take tour walking steps forward to be in ine with partner by R shoulders, arms and hand movements asin Figure | (cts. 1, 2, 3,4). 1M (6) Repeat (a) and (b). Finish in partner's place. : 2M (d) Tum left about and repeat (a-c). Finish in proper places (Partners are by L shoulders in (b) aN, Vv Music A Partnors face each other Am Position Place both arms in front at waist level. Wrist of R handis up, finger tis pointing downward, while fhe L hand in reverse postion. R hand is in front of L ArmMovement —: With wristleading, raice R hand up and pul L hand down, palms in (ct. 1), flip hands to reverse position and movement (ct.2). Ropea! camo (ct:2) (a) Step A aoroas Lin ront (ot), step | sdoward (ot:2) Repeat same (08.3, 4)... (b) Repeat (a) three times more moving in acircie clockwise, always facing partner. Boy fnishes facing audence while Gil finishes behind the Boy. (0) Girl: repeat (a) and (b) moving clockwise while facing the line of direction Boy: repeat (a) and (b) in place. aM 1M ¥ Music ¢ Partners face each other. (2) Take three walking steps obiquely forward let (cs. 1.2.3), turn rignt about pwoting on the ball of R foot and raising L foot across the R knee in rear (ct.4). From 2 position, move the arms downward forward (as it scooping). Finis with the palms up (ts. 1.2) turn both hands tomard chost inward. Continue tho turn ‘and end up with arms forward palms fac front, inger tine in (ct), pul hands outward away from each chor (C14). sae on (b) Ropoat (a) starting with tho L foot tuming lft about... AM (6) Repeat (a) and (b) two times more... ae (d) Boy: take seven walking steps obliquely forward left, ams and hands as in Figure I (cts. 1,2,3,4; 1,2.3), 220point L foot sideward (ct.4), Girl: take four steps tuming right about in place (cts. 1 2,3,4) and three steps in piace (cts. 1,2,3), point L foot sideward (ct.4). Hand movement is the same as that of Boy.......2M NOTE: Partners are now in one line facing front, Girl at partner's right side. vl Music A, (a) Step L across R in front (ct.1), step R sideward (ct.2) arm and hand movement as in Figure |. Repeat same ‘two times moro (cts.3,4; 1,2), stop L sidoward (ct.3), point R foot sideward (ct.4).. (0) Repeat (a) starting with the Foot moving to the ‘opposite direction. 2M (©) Repeat (a) and (b). Close feet together on the last count.......4M vu Music Girl tums loft about so that Fi shoulder is toward partner. Extend R arms sideward, hand of Git on top of boy's hand, L arms are rased overhead. (a) Starting with the P foct, take sixtaen walking stops forward moving helf-way clockwise. Finish in partner's PlACE enn sivcitcnsslAiN (b) Tum about and repeat (a) moving counter clockwis with te Boy folowing the Git. Reverse positon of hands Finish in proper plaC2S. nen... vs AM vu Music B Partners face each other (a) Step R forward and move arms to 2" position ic.1). raiso L foct close to tho R knoo. Raise arms ovorhoad and flip hands down (ct.2), cross turn right about in place. Rarm up. Shake L hand obiquely sideward: downward (ets. 3,4; t,2,3.4). (b) Repeat (a) with the L foct. Reverse position of arms... (6) Repeat (a) and (b) . so Partners face each other. (a) Take four walking steps to Girls place. Hands asin Figure VII (¢). ne (0) Place R heel forward. Bend trunk forward and place R and L cheek close to that of partner atemately four AM22 times (cts. 1.2.9.4). Fans are hed close to waist... 1M (0) Take tour walking steps to the Cente. ..esunseurenneentannensecT (6) Repeat (b) 1M (e) With fans held sdeward-downward, palms down, stamp R foot fve times in place(cts. 1, and 2, and 3). Fip fens and stro fe thighs withthe fans (tard), Raiso aim sidoward, palm down (ct. 4)... ()) Take four steps turning right in pace, arms obliquely sideward-downward. 1M (g) Repeat (e} and ()... : 2M (hy Take eight steps turning right. Finish facing front. “2M x (a) Starting with the R foot, take four walking steps forward to most partner al center, arms asin Figure |.. siscuitan (b) Place R heel forward. Gir leans back with hands. ‘close te hips, palms facing font. Move head sideward left and right alternately ‘our times. Boy taps R and L shoulder of the Git with the fan hed by the R hand alternately four times (as if chopping) (cts. 1,2,8,4)u.suec4M (c) Take four walking steps to Boy's place. Boy moves backward while Girl moves forward. Armsas in (A)... AM (@) Repeat (c). This time the Girl does the choppy movement and the Boy, the head movement... 1M (e) Take four walking stops to certer. Boy moves forward while the Girl moves backward... 1M (Repeat (e)... iM (g) Stamp R foot ive times in place (c's. 1. and 2, ‘and 3),raiso R foot and hit the thighs with both fans (ct.and), flip fans outward (o14).... = ont (h) Three-step tur right in place (ats. 1.2.3). close teat tognthor et 4). arms down asides, ps of fans facing sidewerd-outward... sires () Repeat (a) and (.... () Starting with the R fot, ake four walking steps (Boy moving forward, Girl moving backward) ‘Ams in reverse “T" position, fans facing trom (cts 1.23.4). Sway fans in a figure of eight for avery count. 1M (k) Boy bends trunk forward while Girl leans backward. Move the heads (Boy to right side, Girl to left side) (et) reverse the deaton (62), enoat te sare (C1838 A)nssenssnnensnieen(Repeat (i) and (k)...sesuaseuetuneesensnne . (m)Take four steps to fece front, arms as in (f)... (n) Two steps to turn right in place and pause... FINALE (a) Step L sideward (cts. 1,2), step R across Lin front, knees are slightly bent (cts. 3,4). Twist trunk to the right, R arm obliquely downward-sideward, Lamm obliquely ‘orward-upward shaking fans (cts. 1.2.3.8) ence sovcectunnanee ee Dancers sing as they perform the dance. The natives ofen repeat the dance as many times as thoy like or until they are made to stop. The song goes this way: Music A. Music B. Music C, 23 ‘Sua-ko; Sue-ko, yampa tia num Sua-ko; Sua-ko, yampa tia num An-Mag dahon pa unom unom ‘Ah-Mag dahon pa unom unom Bang ma-ka tum-tum panon Bang ma-katum-tum panon An atay ko mag ka gomon Ah atay ko mag ka gomon Kan ka pilaran, cambla sara-ran Dika dua han, di ka imanan Ah magpe-pin-tas, ha-la-man ‘Ah magpe-pin-tas, da koman My litte orange ree | had planted, With its six lovely green leaves, Reminds me of her, Thus causing my hear to beat That loveliest beauty among the many, That pretty one | cannot change, Walking hurriedly along the street Hand in hand with me-I 2M 1M 1M 2MTo that lovely beauty I lost my heart. Source of Lyrics: Philippine National Dances Mrs. Francisca Reyes Tolentino Literal Transiation of the Song by Lt. Alpad Arasad Source of Lyrics: Philippine National Dances Irs. Francisca Reyes Tolentino Literal Translation of the Song by Li. Alpad Aracad PANGALAY Philippine Folk Dances Francisca Reyes Aquino Entrance Starting with F 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 1 Face audience {@) Slide R foot forward with only toes touching the floor (ct. 1), put ‘weight on same foot at the end of the slide (ct.2). Knees are slighty bent and turned outward. R hand in front at eye level, L hand down in rear, fingers together and hyper-estended. Tum R hand (trom wrst) counterclockwise and turn L hand (from wrist) clockwise simultaneously. 1M (b) Repeat (a), seven more times, L and R fost alternately. Do the same hand movements, L and R alternately InfONt .weeceose 7M (©) Repeat (a) and (b), moving backward to starting place. ........... 8M u R shoulders towards audience. (a) Repeat slide step foot movement as in figure I, R, and L akernately, eighi times, moving clockwise. Arms in lateral postion, turning hands asin figure |, right and left Sideward altemately every two counts. aM (b) Tum right about, repeat (a), moving backward to staring place. .... 8M. 226um Face audience. (a) Repeat slide-step movements in figure | going obliquely forward right, R and L altemetely, eighttimes. Start with arms down at sides, palms facing front, finger tips pointing downward, raise arms gradually upward to head level (4ots.), turn wrist outward co that fingor tips point upward, palms facing front, lower arms gradually downward to starting position (4cts.) Reverse position of ams every four counts am (b) Turn right atout. Repeat (a), going to siaiting place. ....... 8M (c) Repeat (a) and (b), going cbliquely forward left in (@) con. BM. Vv Face audience. (@) 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 igure of eight movement with the ards every wo counts, gradualy stretching the arms sideward at chouder level. ..... seceeeeee 4M (©) Repeat (a), turning counterclockwise. Repeat same harid movement ocatualy fending above to forward bent position. 4AM Face audience (a) Bend toes or R foot and slide forward the bent toes (ct.1), al the end of the slide straighten toes and put weighi on ‘same foot (ct2). Raise hands in front at the eye level. R hand on top with palm facing tho front, fingors togathor; L hand down, palm facing in (Self)for two COUNLS. ae .otesseeces IM. (b| Repeat (a) turning counterclockwise. Reverse position of ‘he hands every two counts, Land Ai hand on top alternately, with palms facing self (when hand is dewn), and paims ‘acing front (when hand is on top). The hand that goes down passes in front. 7™M (c) Tum right about, repeat (a). going to starting place. «.e..sns.es.i 8M psvi R shoulder towards audience. (a) Execute eight paral torilier steps sideward right. Start with ‘es pointing sideward first, taking one count for each movement. Arms in lateral position sideward right, palms facing ‘out, fingor tips pointing upward (ct.1),flox wrist upward so that finger tips point Gownward (c1.2).Reverse position of the finger tips every count (or every two counts if desired) aN {0} Repeat (a), moving sidewaidie't, Arms in lateral position, sidewerd left, doing same movements as in (a). esses 4M. (c) Face audience. Repeat (a) and (b). ) Vil R shoulder toward audience. (a) With knees slightly bent, execute shulfling steps forward, moving clockwise (counting 1, and 2, and for every measure). Bard ‘arms upward, elbows close to waist, hands about two inches over shoulders, palms down. Move fingers (except thumts) up and down alternately every court. aM (b) Tum right about, repeat (a), moving counterclockwise... eM Saludo Face audience. Place right foct in front, bend body slightly forward, head bent forward, cross hands at wists down in front, R hand over L, palms dow. «2.0.0.0 2M Tiklos Philippine Folk Dances Francisca Reyes Aquino ' Music A. Partners face front. Throughout this figure Girl holds her skirt, Boy places hands on waist (a) Staring with R foot, take two heel and toe change steo forward. (b) Execute change stop sideward, R and L...... . (c) Staring with R foot, take four sieps backward to proper places. 226(HABE 81 (CacnnonsmmmmmmimennmennensndlM Music B Partners face front. The same hand position as in figure | (a) Cut L backward (ct.1), cut R forward (ct.2), Repeat all (CtS. 1.2) ......0.2M (b) Take three gallop steps sideward right (cts.1, ah, 2, ah, 1.ah) stop right foot sideward(ct 2) 2M (c) Repeat (a), starting with R cut backward. . eenesetnesns nM) (6) Repeat (b), going sideward left. .......... eeveenn nesses nM (©) Repeat all (a-d) 8M u 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 gn backward across R knee Ine (Ct), hop on and swing L foot obliquely left forward (ct.2)....... a 2M. (b) Repeat (a) starting with the L foot... fonesensdM (c) Execute a three step-tum right in place (Gs. 1, an?) Point Lin front (ct. 1), pont the same foot close to R (Ct. 2). eee eosin 2M (@) Repeat (c), starting with L foot and tuming lef 2M (e) Repeat all (@-0). .osescesesnenssenses svsetetnessctnnsesnveness nM v Music B Partners faco oach othor. The same position of hands as in figure 1 (2) Take two touch step in front (RL)... 2M (6) Jump to cross R in front of L (ct), ump to cross |in front of ft 2) jum fo rons Fn foto Let} umpta close R to L (ct2). 22M (c) Repeat (a) and (b), Starting with L Toot. 4M (@) Repeat all(@-c) scene at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. aim bert front holdog stk upwaré | hand hoidng sick placed behind the waist. . ¢ FIGURE | 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 F over L on ct. 1; Lover R ont. and; R over L onct. 2. Strike starting Lover on next measure. Pairs 2, 3 and 4 : perform 32 ‘cut-step-step in place ltemately starting with L. FIGURE II Music B. Partners face each other. a. Bend downward, Strike sticks 9xR and L, L over R, Rover L. ne Straighten trunk. Strike sicks in front and waist level 3xL. over R, R over and Lover F. b. Waltz step R-».WaitzL Strike sticks 3x to a measure. c. Leap Ra placing L heel in front (ct. 1) to be by L shoulders, wih partner; hold position (cts. 2,3). Strike L sticks with Partner (ct. 1): strike own sticks 2x (cts. 2. 3). d. Loap on L* and piace R hool in front (ct. 1) to be in back to back position with partner, hold position (ets. 2, 3). Strike R sticks with partner (ct. 1); strike own sticks 2x (cis. 2, 3). fe. Stop R4 and place L in front (ct. 1) 10 be by L shoulders with partner (ct. 1); hold position (cts. 2, 3) Strike L sticks wtih patter (eh TH SENG dwn eke: Be 1M f. Waltz step to proper places. Strike own sticks R over L. L over R, R over L. iM 9. Repeat (a) to () starting L and standing by L shoulders. (cs. 2, 16M 32M om 2M 1M mM 3).Start all strikes of sticks with L over R. ... 8M h. Repeat all (@-9) remvaceceocensann nate 16M FIGURE it Music C. Partners face each other, a. 2waltz steps F, L moving diagonally foward. Finish in one line with partner by Lt L shoulders. Strike sticks 3x to a measure. 2M b. Raise R leg in irant (ct. 1}; lower lag (ets. 2, 3) Strike ‘own sticks under raised leg (Cl.1); strke sticks R over L and L over R (cts. a 3). tM c. Face pattner. Strike F sticks with partner (d. 1) strike. own sticks R over L and L over R (ct. 2 3) 1M d. Raise L leg in front (ct. 1); lower leg (cts. 2, 9). Stik own sticks under (ct. 1); stnke sticks R over L and L ‘over R (as Bi 3) fe. Face partner. Strike R sticks wth partner (c. 1); strie own sticks L over Rand R over L (ct. 2 3 ect M f. Zwaltz steps t to pepe Places, Strike sticks x toa measure. ».. . 2M Repeat (2) staring Land standing by RtoR shoulders with partner. .. . aM h. Repeat all fag) ae aes sie 16M FIGURE IV Music D. Partners face each other a. Repeat (a) of FIGURE |. Finish by moving 2 small steps 4 to get close to partner at center on lest 2 ot. OFM. b. Waliz step Rs. Hoid sticks parallel to each other: wing own eticks togothor from sido and stiko both sticks with partner (ct); stke own slicks RoverL and L over R (cis. 2, 3)... iM ©. Waltz step L¢-. Swing own sticks from the L side and strike partner's sticks together (ct. 1); stike own sticks Es ets. 2 1M d. Wiha spring, step Rx placing the L heel in front to be in one line with partner at center by |. shouldors; trunk oract (cts. 2, 3}. Opon arms at the sides without stining sticks (a. 1); strike own sticks 2x wih funk erect’ «Cats. 4M e. Repet (d) of FIGURE I 2M f. Repeat (4) of this FIGURE stepping R | 1M g. Repeat (f) of FIGURE I! starting with L and standing R oe nroenennenini 16M FIGURE V Music E. Partnars face each ather. a. Repeat (a) of FIGURE Il 2M b. Watzturn R (2M) moving obliquely forward finish facing each other n a single line at center. Sirike sticks together 3x to a measure. 2M ©. Stand ( Stike A stick once with partner (ct. 1); sitke On stocks together 2x (cs. 2,3) 1M 4. 2 waltz steps } to partner's place; nich facing each other, Stike Sioxs together 3x to 2 measure. . 2M o- Ropoa at and nahn poporpacs. Sho L slicks together wth partner. : 16M 230 eM 3). 2 3) shoulders. fag). (ac).FIGURE VI Music F. New formation Audience x 1 oO x 2 ° x 3 ° x 4 oO e ‘One set of dancers Pairs 1 and 2 form a square; Palr 3 and 4 do the same. Allface 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, Lover R, Rover L. 2M b. 2 change steps R, Lin place. Strike sticks iogether with opposite (ct.1); strike own sticks 2x (cts. and, 2). em Repeat movement ¢. Turn R about to be by L shoulders: repeat (b). ou Boys 8 change steps R, L alternatey ) em . Girls perform Boy's Partwhile Boys perform Girls pat. aM . New Formtion: Boy 1 to Face Girl 2 Boy 3 to Face Girl 4 Boy 2 to Face Girl 1 Boy 4 to Face Girl 3 > BoNe e000 All repeat (a) to (A) . : ss aM 1. All Face partners and repeat (a-d) with parinerts. .. aM FIGURE VILMusic G. Partners face each other. Allstand in place. 1a. Bend trunk down. Strike own stick 9x to 2 measure ‘on floor or close to the ground. ... 1M b. Straighten trunk. Strike sticks infront. at waist level teers c. Raise sicks overhead. Stike sticks overhead 1M d. Place hands behind waist. Strike sticks from behind, 1M e. Repeat (aa) 3x mare. 12M f. Face about, away from parmer and repeat all (ac), 16M. FIGURE Vill Music H. Circle formation facing clackwise. a. 16 waltz steps Strike own sticks 2x to a measure 16M b. Turn R about to face and repeat (a) to finish Ina doube chee formation with Boys inside and Git partners cutside. 16M FIGURE Vill Music H. Double circle formation with Boys and Girls outside. Girls hold thelr 2 sticks horizontally and parallel to each other; R slick 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 Git's sticks R hand up and L hand low 3x to a measure (cts. 1, and, 2). ataseaesccescerani im b. Gitl-3 step turn R ©) stil holding sticks as in (@) iM Boy stp tum R moving p fane the next Git at his gh. c. Repeat (2)... 1M 232d. Repeat (b). 1M 72M. fr Were you able to understand the dance literature? Can you interpret each step- procedure correctly? If $0, congratulations! Just in case you hove 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 understonding about the dance litereture that you have just studied. Let us see if you can apply the knowledge you learned through the next \ sth Part Ilr WHAT TO PROCESS: ‘Activity 14-Fill-Me-in lL at_ movements (a) and (b); \ partners meet each other, exit This activity aims to assess your mastery of the basic steps in folk dancing, its step pattern and counting, Complete the folowing table by fling in the correct step pattern and counting ofthe given basic steps: Basic Step ‘Step Pattern 233 Measure Number of Counts inaHeel and toe polka Piace heel, touch toe, | stop, close, stop _ Ghange Step 123 ‘Side-cut-hop 123 Touch Stop Stop (R),Point (L) Mincing 123 Sua-Sua Step 1.2 Waltz tum Execute 2 waltz steps to make a turn i top. [Cut [Gallop Step _—_— a ok Did you get a perfect scere? Tf 0, well cone! You may now proceed to the next port which will surely keep you engaged to a more exciting activity Gente ee Pari li WHAT TO REFLECT AND UNDERSTAND) = a Se | ‘Activity 15: OPEN-ENDED STATEMENTS This activity aims to assess your mastery of the essential understanding by ‘completing those unfinished statements. 1. Learned thetde individuals 5. [feel lam ____ dances 6. Folk dances are beneficial to one’s health because an be way to enhance an in performing folk Solf- Chock: Draw a chackmark in the appropriate line that corresponds to your answer. To what extent did you, 1. learn the dance steps? “toa great extent to a moderate exient toa lesser extent 2. execute correctly the dance step combinations? toa greatextent toa moderate extent toa lesser extent 3. memorize the dance? __toa greatextent _~to.a moderate extent toa lesser extent ‘4. express your emotions and feelings on the dance? Joa greatextent toa moderate extent tolesser exiont Self-check In your activity notebook, copy the numbered stalemenis and put a checkmark on the space before each number that best describe your performance. __1.1 enjoyed executing the dance steps. 2: | danced gracefully. — 3. followed the instructions civen by the teacher. 4 | cooperated well with the group. 5. | performed the basic movements correctly. Reflection Write your answer to these questions in your activity notebook 23s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 yoursel!? Justify. Youire Great! Being able to reach this for is a clear indication of your possion to learn, You ‘are row about to reach the most important part of the lesson and that is to experience performing the dance os a whole. PartlV- WHAT TO TRANSFER ‘Activity 16: CULTURAL SHOWCASE {In this phase, you will perform your fok dance to the cass and it wil be ‘ated according to these criferia: Choreography and Artistry. execution. and Mastery of the stops.) Charge eritoria for Mastory, Performance, Staging.1. Goto the schoolaym for your culminatng performance. if you don't havea 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, ard make-up are highly encouraged) 3. Assign comebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference 4, Your toachor will sequence your performances drawing of lot. 5. Guest observers may be invited io witness the activity, including your parents, friends or relatives. 6, Provide feedback on the parformance of other groups. Well dene! You are now about to reach the finish line, I know how tired you must be, However, there is one mere activity that you need to ‘eccomplish before finishing ‘the race, This time let's check your creativity and artistry by doing the next activity below, T know that you can make it! © Carry on! [ Telivity 17- CREATIVE DOCUMENTARY 1. This time come up with a creative documentary from participating in folk dancing. You may consider daing 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 hinyher share hisiher experiences as a folk dance performer when he/she was stil young and how folk dancing created impact on family solidarity and wollnoss in his/her lifesy'e, 237(Wow! You did it well! Finishing all the \\ activities with flying colors is a clear manifestation thet you have learned all the lessons pretty well, After this phase. whet de you intend te do to enrich your gained, Wouldnt 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 darcingas 0 form of physical activity. It's \ a aeod journey after all © ot LEARNING GOAL- Promete 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 ‘amily member ae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 r even just in theatres. Somehow, youll 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: 4. Together with your family, you may join in a feld demonstration during your ‘campus’ Foundation Day or in a siage porformanca/stioet dancing during your town fiesia. 2. Youand your siblings can also join contests on Philippine folk dancas. 3. Your family can go to theaters er museums to watch folk dance festivals and presentations. SUMMARY/SYNTHESIS/GENERALIZATION: Now that you are dane reading this learning materia, I'm pretty sure that you are ready to face the challenges folk dancing brings in terms of its origin, historical background, dance steps and step patlerns, 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 finoss and wellness. It is a good courco of exercise thal could help develop grace and poise. k can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance, foxibility 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 performers’ costumes and music. Here, you realized that just by meréy looking at the costumes and props and listening 10 the music would ‘ell you right away about the point of origin of a particular dance. You also learned the affects of acculturation brought about by the trade and setlement 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 Asien influence parculay Binslakan, Sakuting, Sua-Ku-Sua, Pangalay and Tiklos. You discovered that rhythm plays an impcrtart role inthe performance of the dance. Feeing the beat and rhythm ofthe music isa moWating factor for them to perform wel Also Lesson 3 has provided you activities that inspired you to demonstrate and master the basic steps o! Binislakan, Tikios, Sakuting, Sua-Ku-Sua and Pangalay. It enabled you to enhance your dancing skill and motivated you to show and share the 29steps you've learned. Thus, you realized that mastering the basic dance steps could be used in the interpretation of the dance literatura to a large extent. Moreover, Lesson 4 has presenied 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 cifferent 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 Tikles. Those insights enabled you to perform the dances approptiately 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 courting 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 opportuntties to perform the given dances with your ‘amily members during town fiostas and school foundation days. It also gave you time t bond with your family members by watching ‘culminating activtiesicutural shows which gave you a chance to develop tamily 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 ‘rom this module rot only during dance performances but also in maintaining a well and fit body and a sustainabe Iie. GLOSSARY OF TERMS Accent - emphasis on a beat, usually but not always, the first beat of the measure Accuturation - 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 boliofs, institutions, and all other products of human work. and thought Dynamics an interactive system or process, especially one involving competing or conficing 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 — —_a great exercise and a fun recreational activity for people ofall ages Implements a device used in the performance of a task Improvisation - created extemporaneously, without planning, 240Intensity - in music, the loudness and softmess of | an accompaniment; Lifelong Fi Tempo Tradions Wellness and ethics, References BOOKS: in fitness, the degree of vigor or the amourt of effort expended during an activity itness — the condition of being it and healthy throughout Ife. - the rate of speed from fast to slow = amode of thought or behavior fallowed by a group people coniinuously from generation to generation; a custom or usago - away ollie purposely des gied to enjoy the highest level health and well-being possible, including nutrition, weight control, avoiding substance abuse, being physically fit leading an active life, controlling stress, developing good relationships with others, living with high values end and attending to spirituality 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 Danses 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 Danses Volume 5 by Francisca Reyes Aquino MAPEH for a Better You by Jocelyn V. Bautista, Ma. Rosario C. Franco, Josefino N. Carios, Danilo S. Duyan, Emilio S. Jacinto, J. Rosanna A Diana, Alvenia P. Palu-ay, Hazel P. Copiace and Gloria M. Gacoscosim. MAPEH II by Vilma V. Perez, Lilan N. Luna and Crisanto E. Tomas A Classical Collection of Philippine Golk Dances, Serias 4, Ramon Obusan for the Sua-Ku-Sua Dance Literature ‘Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol. 1.2 and 4. 2010 New Secondary Education Curriculum Teaching Guide ON-LINE SOURCES aaa+ Tt Histor if Filipir Folk. How.com hitp:/iwaw.chow.comiabout 6558571 history filpine folk dance himl¥ix2z27 AKKEfja November 28, 2012 + The History __of _Filinino_Folk_Dance_| ‘cHow.com htip//wwa.chow.com/about 6553571 history-flipino fll dance himlfixzz27AKOwaxt November 26, 2012 * The History of Filipino Folk Dance | ‘eHow.com htip!/www.ehow.com/about_ 6558571 history-flipino-folk- dance html¥ixzz27AK2SK8d Novernber 28, 2012 W18 November 28, 2012 + hilp:www.bangkokcomparies.com/Dance/philipinnesdance | jpg + bp blogspct.com!_LaNn7UyFJLo/SyPOXK IpG4l/AAAAAAAAESA)YN (026rbPk/s400/loytor dance: Theatre.jpg November 28, 2012 + hilps/1 bp.blogspot.com/- tcDLOUNOBIITbYivwSNSAl/AAAAAAAAACE/MFbsNavrwNo’st 600/sin gkiljpg November 28, 2012 + hitp:/home.algameshome.com/results.pho?s=philippine+folksdance&e ategory=images&stari=1 November 28, 2012 + httpv/www.youtubo com/watch?ve8QApCKAITrU November 28, 2012 + wwwkalllayan.com November 28, 2012 hBAOiSJ2bkF?p=pangalay? 2)dancoafr=yip t 521 skoimutt ‘8&N=308x=wildf(2=s9-gec&sado= | Novernber 28, 2012 asukacaramel.deviantart.com November 28, 2012 wn pineyexchange.com November 28, 2012 hitos wun flekr.com/ohotos't4280206@NG3) November 28, 2012 www fiestafipina erg November 28, 2012 www pasioramnio.can November 28, 2012 weww.playle.com November 28, 2012 archivos.pia.gov.ph November 28, 2012 Pangalaydance. corn/the-pangalay-dance-style-of-the-philippine-an- intangible-cultural-heritage November 28, 2012 202