Benguet National High School- Main

Wangal, La Trinidad, Benguet

Name of Learner: __________________________ Grade Level: ______ Section: _______ Date: _____________

LEARNING ACTIVITY SHEET 3

Safety Protocols in Dancing
Philippine Folk Dance and Dance Terms

Background Information for Learners:

Definition of Terms:
1. Rhythm - a measured flow, characterized by basically regular reoccurrence of elements or features such as
beats, sound or accent. Is the way that music is systematically divided into beats that repeat a specific number
of times within a bar at a collectively understood speed or tempo.
2. Rhythmic Activities - are the physical manifestations of the mental and emotional response of the individual to
rhythm. They are activities which a child responds to physically, socially and mentally to regular patters of
sound.
3. Dance -refers to movement set to music where there emerges organization, structure and pattern. It is a
composition that implies arrangement of parts into a form. A rhythmic movement of the human body in space
and time as a form of communication or expression, where there emerge organization structure and pattern.
4. Dancing - is a means of expressing one’s emotions through movement disciplined by rhythm. It is an act of
moving rhythmically and expressively to an accompaniment. The word dancing came from an old German word
“Danson” which means to “stretch “Essentially, all dancing is made up of stretching and relaxing. The movement
of the body in a rhythmic way, usually to music and within a given space, for the purpose of expressing an idea
or emotion, releasing energy, or simply taking delight in the movement itself.

Phases of the Dance Program:

1. Creative Rhythms
Are sometimes called fundamental rhythms or natural dances. A creative rhythm is an end product of
exploration and improvisation of movements as children learn to move the parts of their body and to use
them as instruments of expression.
2. Folk/ Ethnic dance
It’s a cultural art form handed down from generation to generations. It communicates the customs,
beliefs, rituals, and occupations of the people of a region or country. Folk dancing belongs to the people. It
emanates from them. Ethnic tribes have their specific tribal art forms originated and danced by the people
of the tribe.
3. Social and Ballroom Dance
Ballroom dance is a social gathering with the more formal atmosphere than the simple and informal
parties in which the recreational dances are the usual forms. Ballroom dancing are generally held in the
evenings. The participants are usually in formal attire.
Social Dances are dances which is recreational and usually performed with a partner and in groups or as
a community activity for fun and enjoyment. Sometimes it does not require a partner but simply a number
of people in a group.
4. Recreational Dance
Includes dance mixers, square dance round and couple dances. Many of these dances have simple
patterns and combinations of walking steps, polka step and the waltz step. The setting is usually informal
gatherings and parties, reunions etc.
Recreational dance refers to any form of dancing that is done primarily for its social, educational or
health benefits; it includes social dance and amateur dance instruction and performance .
5. Creative Dance
Is the highest form of dance. It is the end-product of exploration and improvisation of movements as the
dancer or the choreographer expresses his feelings or emotions, ideas, and interpretations. This is a dance
with a definite form, a beginning and an ending. The principles of art form are all observed in the
composition of the dance. Examples of creative dance are ballet, jazz, and modern or contemporary dance

NATURE OF PHILIPPINE FOLKDANCES

 Our folkdances have a peculiar combination of Spanish and Oriental movements. Our contact with the Spaniards
for more than three centuries has influenced our music and dances so that we have absorbed much of the Occidental
movements.
Folkdances have been increasing in popularity. Our own native dances earned world acclaim when our dance
groups toured abroad. The dances have delighted and entertained people of all walks of life. As a form of recreation,
folk dances help to promote national goodwill through depicting the habits and customs of people all over the world.
Mrs. Francisca Reyes-Aquino, is considered the mother of Philippine folkdances. It was because of her interest
that we have books: Philippine National Dances and five volumes of Philippine Folk Dances. She travelled many
kilometres all around the country gathering music and steps for the dances found in these books.
The original and foremost dance troupe that paved the way to the birth of many dances and troupes was the
University of the Philippines Folk Song and Dance Troupe. This group of dancers and singers toured the towns and
provinces near Manila to dance and sing for the people. It was Mrs. Tolentino who organized later like the Filipiniana,
Barangay, Bayanihan, Filipinescas, and many others. These groups have gone outside the country dancing their way to
win the love, admiration, and appreciation of our foreign friends.
Values of Dancing
1. Physiological or neuromuscular development of the organic systems of the body
2. Cultural –depicts the culture of people
3. Social and recreational
Types of Folk Dances
1. National –traditional dances of a given country
2. Regional –local
3. Character –created by individual or group
Objectives
1. To foster patriotism and nationalism through the study of our dance
2. To arouse better appreciation of the Philippine music and folk dances
3. To provide through dancing, a healthful for of relaxation and recreation
4. To develop a graceful and rhythmic coordination of body movements that will improve posture
5. To preserve posterity, folk dances and music indigenous to the different regions in thePhilippines
6. To demonstrate the growth of Filipino culture through the evolution of the Philippine Dances
Characteristics
1. Dancers stand apart
2. Little bodily contact
3. Done by pairs or couples
4. Hand movements are important
5. Long formation
6. Begins and ends with saludo
7. Dances from the lowlands have more foreign elements than those found in the uplands
8. War dances are found among non-Christian tribes
Classification
1. Geographical extent of origin
2. National Dances –found throughout the islands with little or no modification. Rigodon,Carinosa, Jota, Balitaw,
Pandanggo
3. Local Dances –found in a certain locality. Tinikling –leyte, Maglalatik –Binyang, Espernza – Nabua, Subli –
Batangas, Biniganbigat –Abra
4. Nature
5. Occupational –depicting action of a certain occupation, industry or human labor. Planting,Harvesting, Pounding,
Wnnowing, Pabirik, Mananguete
6. Religious or Ceremonial –performed in connection with religious vows and ceremonies. Dugsu,Sua- sua, Putong,
Sta. Clarangpinong-pino
7. Comic Dances –Depicting funny movements for entertainment. Kimbo-Kimbo, Makonggo,Konoton
8. Game Dances –with play elements, Lubi- lubi, Pavo
9. Wedding dances –performed during wedding feast, Panasahan
10. Courtship dances –depicting love-making. Hele-hele, bagoquiere, Maramion, Tadek, Daling-daling
11. Festival Dances –suitable for special occasion or any social gathering. Pandango, Habanera,Jota, Surtido
12. War dances –showing imaginary combat or duel. Sagayan, Palu-palo
Movements
1. Active –with fast energetic movements. Tinikling, Maglalatik, Sakuting, Polkabal
2. Moderate –Carinosa, Tagala, Habanera, Purpuri
3. Slow –Pasakat, Amorosa, Tiliday, Kundiman
4. Slow and Fast –Putritos, Ba-Ingles, habanera Botolena, Alcamfor
Formation
1. Square or Quadrille, Rigodon, Los Bailes de Ayer
2. Long Formation –Lukay, Sakuting
 3. Set –consisting of two or more pairs as a unit, partners facing each other or standing side byside.,
Binadyong, Haplik, Kakawati
Do’s
1. Dance in a natural and simple and direct manner
2. Dance with ease, and smoothness
3. Use the proper costumes for the dance
4. Follow directions and dance instructions as closely as possible
5. Dance with feeling and expression
Don’ts
1. Do not exaggerate the dance steps.
2. Do not make the dance too dainty and graceful like ballet
3. Don’t make entrance and exit long
4. Don’t make steps too elaborate and complicated
DANCE TERMS
1. Abrasete – Girl at the right side, holds R arm of partner with her L hand, free hands down at the sides. This term
is of Spanish origin and is used in Rigodon and in other dances.
2. Arms in lateral position – Both arms are at one side, either sideward right or left. This may be done at shoulder,
chest or waist level.
3. Arms in Reverse T – arms are side horizontal, elbows bent at right angles, forearms parallel to head, palms
forward or facing inward, fists loosely closed.
4. Bilao – to turn palms of hands up and down alternately, hands at wasit level in front, elbows close to waist.
5. Brush – weight on one foot, hit the floor with the ball or heel of the foot (the free foot) after which that foot is
lifted from the floor to any direction.
6. Cabeceras –when dancers are in square formation, the couples occupying the width of the hall are called
“cabeceras” or head couples. This is a Spanish origin.
7. Clockwise – like the motion of the hands of a clock. R shoulder is toward the center of an imaginary circle. When
facing center, the movement is toward the left.
8. Counterclockwise – the reverse of clockwise. L shoulder is toward the center of an imaginary circle. When facing
center, the movement is toward the right.
9. “Costados” – when dancers are in a square formation, the couples occupying the length of the hall are called
“costados” or side pairs. This is of Spanish origin.
10. Crossed Arms – Partners are facing each other or standing side by side, girl at the right of the boy. They join their
L hands together and their R hands together; either R over L or L over R.
11. Cross-Over – Two couples (vis-à-vis) are opposite each other. Each couple proceeds in a straight line to the
opposite place. The girls pass by their L shoulders between the boys. Boys bow to each other when they meet at
the middle or about one-third of the way, then proceed to the opposite place. Upon reaching the opposite
place, partners’ turnabout, girls stand at partners’ right side.
12. Cut – to displace quickly one foot with the other, thus completely taking off the weight of the body from the
displaced foot.
13. DO-si-do (Dos-a-Dos) – the vis-à-vis (opposite) both advance forward, pass each other’s right (or left) side, step
across to the right (or left), move backward without turning around pass each other’s left (or right) side to
proper places. This is of foreign origin and is used in many Philippine dances.
14. Draw – to pull one foot along the floor close to the other which has the weight of the body. The weight may or
may not be transferred.
15. Free Foot – the foot not bearing the weight of the body.
16. Saludo – partners bow to each other, to the audience, opposite partners, or to the neighbours with feet
together. This term is of Spanish origin and is used in almost all Philippine dances.
17. “Sarok” (or “Saroc”) – Cross the R (L) foot in front of the L (R), bend the body slightly forward and cross the
hands (forearms) down in front with the R (L) hand (forearm) over the L (R). This is a Visayan term.
18. Set – A dance formation like a square or a unit formation composed of two or more pairs.
19. Slide – to glide foot smoothly along the floor. The movement may be finished with or without transfer of weight.
20. Stamp – to bring the foot forcibly and noisily on the floor (like doing a heavy step) with or without transfer of
weight.
21. Star with Right Hand – four or more people join R hands at center and circle around clockwise using the walking
or any kind of dance step.
22. Star with Left Hand – same with “star with right hand,” but joining L hands and turning counter clockwise.
23. Step – to advance or recede by raising or moving one foot to another resting place. There is a complete transfer
of weight from one foot to another.
24. Supporting Foot – the foot the bears the weight of the body.
25. Tap – to rap slightly with the ball or toe of the free foot, flexing the ankle joint keeping weight of the body on
the other foot. There is no change or transfer of weight.
26. Whirl – to make fast turns by executing small steps in place right or left.
Safety in Dancing
Dehydration
 It occurs when you use or lose more fluid than you take in, and your body does not have enough water and
other fluids to carry out its normal functions. Water makes up approximately 60% of body weight and is the largest
component of the human body. The muscles we work so hard to develop as dancers (skeletal muscles) are about
73% water, your blood is about 93% water and even bones and teeth contain some water. It is important for dancers
to know that being properly hydrated helps keep the body from overheating. Helping the body promote heat loss
when dancing will improve athletic performance and aid in recovery. This is especially important for dancers wearing
hot costumes and performing under stage lights. Sweat losses during performance can be significantly more than
during rehearsal of the same piece. Therefore, drinking regularly (even small, regular sips) is an important habit
during a show.
Overexertion
It occurs when people push themselves too hard during physical activities like Dancing causes injury when a
person works beyond his or her physical capacity and tolerances of his or her body’s soft tissues. Factors related to
overexertion are age, physical condition, flexibility, obesity, strength, and tolerance.
Hyperthermia
Refers to a group of heat-related conditions characterized by an abnormally high body temperature in other
words, the opposite of hypothermia. The condition occurs when the body's heat-regulation system becomes
overwhelmed by outside factors, causing a person's internal temperature to rise.
Hypothermia
A medical emergency that occurs when your body loses heat faster than it can produce heat, causing a
dangerously low body temperature. Normal body temperature is around 98.6 F (37 C). Hypothermia occurs as your
body temperature falls below 95 F (35 C).

Learning Competency with code:

Observes personal safety protocol to avoid dehydration, overexertion, hypo- and hyperthermia during MVPA
participation (PE12FH-Ik-t-10)

Directions/ Instructions:
1. Properly execute the dance terms of folk dancing

Exercises / Activities:
1. Interpret and perform 10 dance terms
2. Make an essay on personal safety particularly in avoiding dehydration, overexertion, hypo- and hyperthermia in
relation to the performed executed 10 dance terms

Guide Questions (if necessary)

Rubric for scoring (if necessary)

Reflection:
How can dance develop a child holistically? (Use extra sheet of paper)

References for learners:

https://www.youtube.com/watch?v=mXBTfS3Papw
https://www.youtube.com/watch?v=QQOVUKM-pp8
BSU- CHK PE23 Hand out
Answer Key:
Answers may vary

Prepared by:
ALLAN P. PALSIYENG