7

PHYSICAL EDUCATION
Quarter 3 – Module 3b:
Philippine Folk Dances
(Tinikling)

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PE – Grade 7
Alternative Delivery Mode
Quarter 3 – Module 3b: Philippine Folk Dances (Tinikling)
Second Edition, 2022

Republic Act 8293, section 176 states that: No copyright shall subsist in any
work of the Government of the Philippines. However, prior approval of the
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Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand

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use these materials from their respective copyright owners. The publisher and
authors do not represent nor claim ownership over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Angelica C. Lajot
Editors: Rowena Z. Ambata, Mary Rose G. Acupanda
Reviewer: Bethel- Anne S. Parco, Ian John Emmanuel T. Tubio
Illustrator:
Layout Artist:
Management Team: Senen Priscillo P. Paulin, CESO V Jenith C. Cabajon
Joelyza M. Arcilla, EdD Rosela R. Abiera
Marcelo K. Palispis, EdD Maricel S. Rasid
Nilita L. Ragay, EdD Elmar L. Cabrera
Dan P. Alar, EdD

Printed in the Philippines by ________________________

Department of Education –Region VII Schools Division of Negros Oriental

Office Address: Kagawasan Ave., Daro, Dumaguete City, Negros Oriental

Tele #: (035) 225 2376 / 541 1117
E-mail Address: negros.oriental@deped.gov.ph
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our
dear learners, can continue your studies and learn while at
home. Activities, questions, directions, exercises, and
discussions are carefully stated for you to understand each
lesson.
Each SLM is composed of different parts. Each part shall guide
you step-by-step as you discover and understand the lesson
prepared for you.
Pre-tests are provided to measure your prior knowledge on
lessons in each SLM. This will tell you if you need to proceed on
completing this module or if you need to ask your facilitator or
your teacher’s assistance for better understanding of the lesson.
At the end of each module, you need to answer the post-test to
self-check your learning. Answer keys are provided for each
activity and test. We trust that you will be honest in using these.
In addition to the material in the main text, Notes to the Teacher
are also provided to our facilitators and parents for strategies and
reminders on how they can best help you on your home-based
learning.
Please use this module with care. Do not put unnecessary marks
on any part of this SLM. Use a separate sheet of paper in
answering the exercises and tests. And read the instructions
carefully before performing each task.
If you have any questions in using this SLM or any difficulty in
answering the tasks in this module, do not hesitate to consult
your teacher or facilitator.
Thank you.

i
 INTRODUCTION

Countries in the world have their own cultures made more colorful, beautiful,
and vibrant because of folk dances that are reflection of who they are. Philippine folk
dances mirror everyday life- the moods, expressions, and feelings of our common
folks in the different regions. This has evolved into a beautiful tradition and culture
bringing out the Filipino creativity through the dance arts.

This unit will invite you to see the Filipinos’ way of life and lore through local
and indigenous dances which include the definition, classification, importance as
well as the nature and background of these dances. The dance skills you will learn in
this unit will challenge you to showcase the dances in school wide celebrations or in
dance festivals bringing out the Filipino spirit, character, and artistry.

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 What I Know

PRE-ASSESSMENT

Direction: Read the statements carefully and write the letter of the correct
answer in your activity notebook.

1. The folk dance Subli is performed during fiestas as a ceremonial worship

dance of the town’s icon, the holy cross. What form of folk dance is Subli?
A. Religious/Ceremonial dances
B. Mindanao Dances
C. Cordillera Dances
D. Western-Influence Dances.
2. What did you do when you spring on one foot and land on the same foot?
A. Tapping B. Hopping C. Jumping D. Stamping
3. When one arm is raised sideward, the other arm overhead, which position
of the arms is executed?
A. 1st B. 2nd C. 3rd D. 4th
4. Which of the following dance steps has a step pattern of step, close, step
and a counting of 1, 2, 3?
A. Waltz B. Cross-waltz C. Mazurka D. Redoba
5. What is the correct counting of mazurka step?
A. 1, 2, 3
B. 1 and 2
C. 1 and 2, 3
D. 1 and 2, 3, 1 and 2, 3
6. The oldest form of dance in the Philippines.
A. Hip hop B. Jazz C. Ballet D. Folk Dance
7. Who is the mother of the Philippine folk dance?
A. Francesca Reyes
B. Francesca Reyes-Aquino
C. Franchisca Aquino
D. Francisca Reyes-Aquino
8. Tinikling is said to be name after the used of coconut shells
A. True B. False
9. Kuratsa and Cariñosa is both a courtship dance.
A. True B. False
10. The National Dance of the Philippines.
A. Regatones B. Itik-itik C. Subli D. Tinikling

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 What’s In

Task 1:

Folk Dancing Questionnaire

I. Direction: Below is a survey questionnaire that reveals your personal information

about folk dancing. Accomplish it by putting a check mark (√)
corresponding to your response in each item.

QUESTIONS YES NO
I enjoy watching folk dances.
I am willing to learn folk dances.
I love researching folk dances.
I like listening to folk dance music.
Of all dance genres, folk dance is my favorite.
I am a member of a folk dance group.
I have participated folk dancing in school programs/field
demonstrations.
I started dancing folk dance/s since elementary.
I have joined folk dancing competition/s.
I teach folk dances.

A scale is provided for you below which helps you make meaning of the
responses you have indicated in the survey-questionnaire.

Number of Yes Responses Relative Interpretation

1-3 Not so interested in folk dancing activities.
4-6 Slightly interested in folk dancing activities.
7-10 Very interested in folk dancing activities.

Task 2:

II. Direction: Based on your interpretation of your responses to the survey-

questionnaire, what does this reveal about your interest in folk
dancing? Express and share your answer through writing it in your
activity notebook.

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 What’s New

Direction: Answer the following questions. Do this in your activity notebook.

1. How does dancing benefit your personal health?

2. How does performing local and indigenous dances influence your character and
artistry as a Filipino student?

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 What is It

FOLK DANCE
Dance is probably the oldest of the arts. We see the human body in motion
set to music bringing out rhythm, structure, and pattern. Dance has various
classifications, one of which is folk dance. Folk dance may be a traditional dance of
a given country. It relates to the customs, traditions, and daily lives of a certain
community or locality.

HOW PHILIPPINE DANCES EVOLVED

➢ Even before the Spaniards and Americans came, various tribes have already a
dance culture of their own. A handful of them resisted, Spanish colonization and
many of the dances have been handed down through the generations.
➢ With Spanish colonization, European culture blended and was integrated in local
communities. The Jotas, Fandangos, and Waltz were integrated into our dances
like: Jota Manileña, Cariñosa, Pandanggo sa Ilaw, and many others.
➢ In the modern era, we have included Philippine folk dances in the courses
offered by most schools in the country. This way, students will be able to
preserve the country’s rich cultural heritage.

CLASSIFICATION OF PHILIPPINE FOLK DANCES

➢ Courtship or Wedding- It is usually performed by couples or newly-weds

together with the relatives of the bride and groom. The movements of the dance
depict courtship and love. Examples of these dances are the Habanera de
Soltera, the Cariñosa, and the Sayaw sa Pag-ibig.
➢ Festivals- These dances are performed during fiestas as a thanksgiving ritual for
a bountiful harvest or good fortune.
➢ Mimic or Imitative- The purpose of these dances is entertainment. Usually it
depicts animal movements with funny and humorous actions. Examples are Itik-
itik, the Tinikling, the kalapati, and the Mariposa.
➢ Occupational Dances- These dances are performed to characterize
occupations of a certain locality. Examples are the Maglalatik, the Binatbatan,
the Pagtatanim-Paggapas, the Pagpapahangin, and the Pagbabayo.
➢ Religious or Ceremonial Dances- They are performed as rituals. An example is
the Subli.

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FUNDAMENTAL POSITIONS OF ARMS AND FEET

1st Position- Heels together, toes

FEET apart with an angle of 45 degrees.
2nd Position- Astride sideward of
about a pace or 1 foot distance.
3rd Position- Heel of one foot
close to the in-step of the other
foot.
4th Position- One foot in front of
the other about a pace distance.
5th Position- Heel of front foot
close to the big toe of the rear
foot.

Source:
https://www.google.com/search?q=first+position+of+the+feet+in+folk+dance+illustrat
ion

ARMS
1st Position- Encircle both arms
in front of chest with the finger
tips about an inch apart.
2nd Position- Both arms raised
sideward with a graceful curve.
3rd Position- One arm raised
sideward, the other arm
overhead.
4th Position- One arm in a half
circle in front, other arm raised
overhead.
5th Position- Both hands raised
overhead.

Source:
https://www.google.com/search?q=fundamental+positions+of+the+arms++in+folk+da
nce+illustration&tbm

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BENEFITS OF FOLK DANCING
➢ Physiological- Folk dances help you with posture and alignment of your body,
motor skills, and positioning. It also makes you more flexible, makes you last
longer, and makes you feel more confident.
➢ Social- It will help you gain meaningful interactions, social skills, cooperation,
and motivation.
➢ Cultural- It will help you learn to cross cultures and deepen your understanding
of your own cultural identity.
➢ Artistic- It will help you be more creative and artistic.
➢ Recreational- You will have fun when you do folk dancing.

Dance Step Step Pattern Counting Measures

1. Touch Step Point, Close 1, 2 8
2. Close Step Step, Close 1, 2 8
3. Hop Step Step, Hop 1, 2 8
4. Change Step Step, Close, Step 1 and 2 8
5. Change Step Step, Close, Step; 1 and 2 8
with Arms in
Lateral Position, R
and L alternately Arms in lateral
position, R and L
alternately
6. Change Step, Step, Close, Step 1 and 2 8
Arms in reverse “T”
while doing
Kumintang Arms in reverse
clockwise “T”; turning the
hand from the wrist
clockwise
7. Kuradang Step, Close, Step 1 and 2, 8
Cross, Step, Close,
3, 1 and 2, 3
Step, Point

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TINIKLING MOVES!

In this activity, you will learn and

master the Tinikling, a folk dance
from the Visayas, which will help you
develop your endurance and muscle
and bone strength through the
different dance figures of the dance.

Note: For better understanding of the dance, please try to search it in youtube.
(https://www.youtube.com/watch?v=_nisbR3D5vQ&feature=youtu.be)

BAMBOO RHYTHMS (BR)

BR I. Strike bamboo poles together once by sliding them against the board or lifting
them an inch or so (ct 1), open the bamboos about a foot apart and strike them twice
against the boards (cts 2,3). This is repeated as many times as necessary in regular
rhythm.
BR II. Strike bamboos once as above (ct 1), open bamboos a foot apart and strike
them three times against the boards (cts 2 and 3) with R,L,R hands of bamboo
player number 1 and with L, R, L hands of number 2.

Remember these signs/symbols:

R- Right M- Measure
L- Left X- Boy
Ct- counts O- Girl

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 INTRODUCTION

Music Introduction.

(a) Starting with the R foot, dancers take four waltz steps forward going to proper
places, the girl holding the skirt, the boys hands on waist…………………………4M
Bamboo Rhythm- Silent for 1M
Strike bamboo poles together once at every first beat of the second, third and fourth
measures (2-4M)……………………………………………………………….4M
(b) Dancers stand at the left side of the poles on the L foot. Tap with R foot twice
between the poles on counts 2 and 3 of measure 5
(c) Repeat (b) three times more (6-M)……………………………………….4M
BR I Play four times (4M)………………………………………………….4M

I
TINIKLING STEP
Music A (BR I)

(a) Take seven “tinikling” steps R and L alternately. Hands Positions as described
above. The first hop on count one of measure one may be
omitted………………………7M
(b) Steps r foot outside pole No. 2 (ct 1) hop twice on the L foot between turning right
about (cts 2,3) Girl holds the skirt, boy hands on
waist………………………………………………1M
(c) Take seven “ tinikling” steps L and R alternately. Hands as above……………7M
(d) Girls hops on L foot outside pole No. 2 ( ct 1), hops on R twice between the
poles, going backwards near bamboo player No. 1 (cts 2,3) Hands as above in 8M
Boys hops on L foot outside pole No. 1 (ct. 1), turns right about by hopping twice on
the R foot between the poles going near bamboo player No. 2 (cts 2,3)
Hands as in 8M………………………………………………………………………….1M
They finish facing each other.

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 II
CLOCKWISE AND COUNTERCLOCKWISE

MUSIC A (BR I)

(a) Girl stands at the left of pole No. 2 and boy at the left side of pole No. 1( see
Diagram 2) Starting with the L foot, take four steps forward outside the poles (cts
1,2,3,4); turn right about and hop on L (ct 5) and R foot ( ct 6) between the poles, Girl
holds skirt, boy’s hand on waist…………………………………………………….2M
(b) Repeat (a) three times more, going clockwise. On the eight measure hop on L
poles ( cts
5,6)……………………………………………………………………………….6M
(c) Repeat all ( a, b ), starting with the R foot on the other side of the poles ( boy at
the right side of the pole No. 2, and the girl of pole No. 1) Reverse Direction……..7M

NOTE: This time the figure is started by hopping on the R (ct 1) and L foot (ct 2)
between the poles.

(d) Girl takes three steps forward about two feet away from the pole No. 2……..1M
Boy takes three steps forward about two feet away from pole No. 1 Finish facing
each other.
……………….…………………………………………………………………1M

III.
KURADANG STEP
Music B (B. R. II)
(a) Take eight “Kuradang” steps R and L alternately. Arms in fourth position, R
and L alternately. ………………………………….16 M
(b) At the last measure the boy jumps over to the left side of his partner facing the
same direction.

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 IV.
TINIKLING STEPS SIDEWAYS
(Music B BR 1)
Open the poles wider to accommodate the feet of the dancers.
Partners join hands. Free hand of the girl holding the skirt, and the boy’s free hand
on waist.

(a) Hop on L foot outside the poles (ct. 1), hop on R (ct. 2) and on L between the
poles (ct. 3) ……………………………………………………………….1M
(b) Hop forward on R foot outside across pole NO. 1 (ct. 1), hop on L (ct. 2), and
R foot between the poles (ct. 3)
(c) Repeat (a) and (b) five times alternately……………….5M
(d) Hop on R twice, outside pole No. 1 turning right about. Release the hold of
inside hands (cts. 1,2). Hop on L close R foot in place (ct. 3)
…………………………………..1M
(e) Join inside hands. Repeat (a, b and c)
……………………………………………7M
(f) Hop on R foot outside pole No. 2. Release the hold of inside hands. (ct. 1),
pause (ct. 2,3)………………………………………………………..1M

V.

FEET APART

(MUSIC A BR1)
(a) Girl turns R and boy L (facing each other), jump with both feet apart outside
the poles (no. 1 and no. 2), join both hands and swing them sideways (ct. 1),
jump twice with feet together between the poles, swing hands down in front
between them (cts. 2, 3)…………………………..1M
(b) Repeat (a) twice more………………………2M
(c) Jump with feet apart outside the poles (ct. 1), release hands and jump twice
between the poles turning right about (cts. 2,3). Partners are in back to back
position…………………..1M
(d) Repeat (a), (b) and (c) except hand movements. Girl holding skirt, boy’s
hands on waist………………………………….4M
(e) Repeat all (a, b, c and d) except on the sixteenth measure, the girl does not
turn. The boy turns right about facing the audience…………………8M

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 VI.

CROSS STEP

MUSIC A BR 1

(a) Hop on left foot across pole no. 2 and raise R foot in rear (ct. 1), hop on R
twice between the poles (cts. 2, 3). Girl’s right hand on waist and left holding
skirt, Boy’s hands on waist……….1M
(b) Hop on L outside pole number 1 and raise R foot in front (ct. 1), hop on R
twice between the poles (cts. 2, 3). Hands as above……………………….1M
(c) Repeat (a) and (b) three times more. On the last two counts of the 8th
measure hop on R foot twice turning right about…………………6M
(d) Repeat seven times (a) and (b) alternately……………………7M
(e) Girl hops on left outside pole number 2 (ct. 1), Hops on R twice between poles
moving backward near bamboo player No. 1 (cts. 2, 3). Boy hops on left
outside pole number 1 (ct. 2), Hops on R foot between poles moving forward
near bamboo player No. 2 (ct. 2), hop on R again ….1M

VII.

DIAGONAL
MUSIC B BR1
(a) Hop on L foot outside the poles (girl outside pole No. 2, boy pole No. 1)
(ct.1),Hop on R diagonally forward to the center of the poles (ct. 2). Hop on L
on the same spot (ct. 3). Join right hands on counts 2,
3………………………1M
(b) Hop on R foot diagonally backward across the other pole (girl across pole No.
1, and boy No. 2). Release the hold of R hands ct. 1, hop on left ct. 2 and right
ct. 3 between the poles as above. Join R hands on cts. 2,
3………………………..1M
(c) Repeat five times (a) and (b) alternately………5M
(d) Leap to exchange places …….1M
(e) Repeat A, B, and C……….7M
(f) Boy leaps to the left side of pole No. 1 and girl at the right side of pole No. 2
near bamboo player No. 2 ………………….1M

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 VIII.
WALTZ STEPS
MUSIC B BR2- 8M
(a) Starting with the R foot, take 4 waltz steps forward. Arms in lateral position
moving sideward right and Left alternately or inside hands joined…………4M
(b) Repeat A moving backward……………….4M
BR I- 8M
Girl dances in front of her partner.
(c) Hop on the outside foot once outside the poles (girl outside pole No. 2, boy
pole No. 1) ct. 1, Hop on the inside foot twice between the poles cts. 2, 3. Girl
holds her skirt, boy’s hands on waist………………………..1M
(d) Repeat C five times more moving forward little by little……………5M
(e) Boy jumps over to the left side of the girl, and they join R hands. Girl makes a
three steps turn left in place passing under the arch of arms (1M), and both
bow to the audience (1M)…………………..2M

What’s More

Task 3:
Direction: Identify the missing Dance steps, Step pattern, Counting and Measures
below. Do this in your activity notebook.

Dance Step Step Pattern Counting Measures

Touch Step Point, Close 1, 2 8
1. Step, Close 2. 8
3. 4. 1, 2 8
Change Step Step, Close, Step 1 and 2 8
Change Step with 5. 1 and 2 8
Arms in Lateral
Position, R and L
alternately
6. 7. 8. 9.
Kuradang 10. 1 and 2, 8
3, 1 and 2, 3

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Task 4:
Direction: Arrange in chronological order how Philippine folk dances evolved. Write
the numbers 1 to 4 in your activity notebook (Copy and Answer).

The Spanish colonizers introduced European culture with the Jotas,

Fandangos, and Waltzes.
Various tribes have a dance culture of their own.
Philippine folk dances have been included in the course offering in most of
our schools.
Resistance groups fought the Spaniards and with this, many of our dances
were handed from one generation to the other.

What I Have Learned

What I Can Do

Direction: You are a dance ambassador and part of your role is to invite guests to
take a glimpse of the Philippine life and lore. Your goal is to make a collage
advertisement promoting the beauty and richness of our folk dances. Your creative
output will be judged by your teacher and will be assessed with a scoring rubric.

Materials needed:
➢ 1/8 Illustration board
➢ Any pictures that shows the beauty and richness of our folk dances
➢ Any coloring materials

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 Collage Advertisement Rubric
Criteria Advanced Proficient Developing Beginning
10-8 7-5 4-2 1-0

Overall The collage The collage The collage The collage

Impression fully reflects communicates presents does not
the beauty some aspects words and adequately
and richness of beauty and images, but it reflect the
of our folk richness of our fails to beauty and
dances. folk dances. communicate richness of
the beauty our folk
and richness dances.
of our folk
dances.

Words and All words and All words and All words and Words and
Images images are images are images relate images do not
related to the related to the to the topic. relate to the
topic and topic and most topic.
make it easier make it easier
to understand to understand
the the
perspective. perspective.

Design The collage The collage The collage The collage

shows shows shows some was put
considerable attention to attention to together
attention to construction. construction. sloppily. The
construction. The collage is The collage is collage is very
The collage is attractive In acceptably poorly
exceptionally terms of attractive designed. It is
attractive in design, layout, though it may not attractive.
terms of and neatness. be a bit
design, layout, messy.
and neatness.

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 Assessment

I. Direction: Match the following dance steps in column A to its corresponding

figures in column B.
A B
1. Diagonal a. VIII
2. Feet Apart b. VII
3. Kuradang c. VI
4. Waltz Step d. V
5. Cross Step e. III

Additional Activities

Direction: Complete the statements by giving your honest responses.

1. Folk dances made me realize…

2. I would like to learn more about…

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 17
NegOr_Q3_MAPEH7_Module3b_v2
arms-and-feet-in-folk-dance.
December 14, 2021. https://www.slideshare.net/julietorejenes/fundamental-positions-of-
Rejenes, J. 2014. Fundamental positions of arms and feet in folk dance. December 7. Accessed
2021. https://www.youtube.com/watch?v=_nisbR3D5vQ.
Nartates, R. 2009. Youtube.com:Philippine folk dance tinikling. January 21. Accessed December 14,
http://julstolentino.blogspot.com/2012/03/module-6-review-of-basic-movements.html.
Lacernaet, E. 2012. Folk dance: foreign and ethnic dances. March 10. Accessed December 14, 2021.
Concha, A., Ganzon, C., Bejarasco, C. n.d. Archieve Creative Experiences and Skills in MAPEH.
References
Pre- assessment
1. A 6. D
2. B 7. D
3. C 8. B
Task 3 4. A 9. A
1. Close Step
2. 1, 2 5. A 10. D
3. Hop Step
4. Step, hop
5. Step, close, step; arms What’s More
in lateral position, R
and L alternately Task 4
6. Change step, arms in 3 The Spanish
reverse “T” while doing
colonizers introduced
kumintang clockwise.
7. Step, close, step; arm European culture with
in reverse “T” turning the Jotas, Fandangos,
hand from the wrist and Waltzes.
clockwise 1 Various tribes have a
8. 1 and 2 dance culture of their
9. 8 own.
10. Step, close, step, 4 Philippine folk dances
cross, step, close, have been included in
step, point. the course offering in
most of our schools.
Assessment 2 Resistance groups
fought the Spaniards
1. B and with this, many of
2. D
our dances were
3. E
handed from one
4. A
5. C generation to the other.
Answer Key
For inquiries or feedback, please write or call:

Department of Education – Schools Division of Negros Oriental

Kagawasan Avenue, Daro, Dumaguete City, Negros Oriental

Tel #: (035) 225 2376 / 541 1117

Email Address: negros.oriental@deped.gov.ph
Website: lrmds.depednodis.net

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