ST.

JOHN PAUL II COLLEGE OF DAVAO

COLLEGE OF HUMAN KINETICS

Physically Detached Yet Academically Attached

SIMPLIFIED COURSE PACK (SCP) FOR SELF-

DIRECTED LEARNING

CPC 102 – Philippine Traditional Dances

This Simplified Course Pack (SCP) is a draft version only and may not
be used, published or redistributed without the prior written consent of
the Academic Council of SJPIICD. Contents of this SCP are only
intended for the consumption of the students who are officially enrolled
in the course/subject. Revision and modification process of this SCP
are expected.

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COLLEGE OF HUMAN KINETICS

Physically Detached Yet Academically Attached

Vision By 2023, a recognized professional institution providing quality,

economically accessible, and transformative education grounded
on the teachings of St. John Paul II.

Serve the nation by providing competent JPCean graduates

Mission through quality teaching and learning, transparent governance,
holistic student services, and meaningful community-oriented
researches, guided by the ideals of St. John Paul II.

Respect
Hard Work
Core Values Perseverance
Self-Sacrifice
Compassion
Family Attachment

Inquisitive
Ingenious
Graduate Attributes
Innovative
Inspiring
Course Code/Title Philippine Traditional Dances
Applied practical skills and understanding the rudiments of folk dancing from the raw
materials of published and unpublished dances. Analysis of dance instructions and
Course Description technical interpretations from the written materials are underscored. Emphasis is
giving to valuing the context of the dance as basis of interpreting dance movements
with underpinning of preserving the legacy of the Filipino heritage.
Course Requirement Actual Interpretation of a Philippine folkdance Literature
Time Frame 54 Hours
“Based 40” Cumulative Averaging Grading System
Grading System Periodical Grading = Attendance (5%) + Participation (10%) + Quiz (25%) + Exam
(60%)
Final-Final Grade = Prelim Grade (30%) + Midterm Grade (30%) + Final Grade (40%)
Contact Detail
Dean/Program Head Reyna Flor E. Mondejar (09098283641)

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Course Map

Philippine Traditional Dances Course Pack (SCP)

SCP-Topics: Prelim Period SCP- Topics: Midterm Period SCP- Topics: Final Period
Dance and its Scope Basic Steps in 3/4-time Balse Dance
Week 1 Phases of the dance Program Week 7 Week
signature 13
Figure 1-4 (Interpretation of
Dance Literature)

Common Dance Turn in 3/4- Jota Batanguena

Week 2 Phil. Folk dance Week 8 Week
time signature 14
Figure 1-3 (Interpretation of
Dance Literature)

Fundamental Positions of Arms Basic Steps and combination in Jota Batanguena

Week 3 Week 9 Week
and Feet 4/4-time signature 15
Figure 4-5 (Interpretation of
Dance Literature)

Binasuan Dance
Week Week Assessment
Week 4 Dance terms Figure 1-4 (Interpretation of
10 16 Balse Dance (with formation)
Dance Literature)

Basic Steps and Common Binasuan Dance Assessment

Week Week
Week 5 Dance Turn in 2/4-time Figure 5-7 (Interpretation of Jota Bantanguena (with
11 17
signature Dance Literature) formation)

Binasuan Dance
Week 6 EXAM Week Week Assessment
12
Figure 8-10 (Interpretation of
Dance Literature) 18 Binasuan (with formation)

Course Outcomes
1. Recognize the cultural role of dance in understanding others.
2. Valuing physical activities for enjoyment, challenge, social interaction and
career opportunities.
3. Interpret and demonstrate a Philippine folkdance literature
4. Design dance sequence that is personally interesting.
5. Perform a folkdance with fluency and rhythm.
6. Understanding various movement concepts, principles, strategies and tactics
as they apply to the learning of physical activity.
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Welcome Aboard! This course covers applied practical skills and

understanding the rudiments of folk dancing from the raw
materials of published and unpublished dances. Analysis of dance
instructions and technical interpretations from the written
materials are underscored. Emphasis is giving to valuing the
context of the dance as basis of interpreting dance movements with
underpinning of preserving the legacy of the Filipino heritage.

SCP-TOPICS: PRELIM PERIOD TOPICS

Week 1 Philippine Traditional Dances

Dance and its Scope and Phases of the dance
Lesson Title
Program
Learning 1. Perform Phases of the dance Program, Dance and
Outcome(s) its Scope.

LEARNING INTENT!
Terms to Ponder
This section provides meaning and definition of the terminologies
that are significant for better understanding of the terms used
throughout the simplified course pack of Philippine Traditional
Dances. As you go through the labyrinth of learning, in case you
will be confronted with difficulty of the terms, refer to the defined
terms for you to have a clear picture of the learning concepts.

Dance is a movement set to music where there is an

emergence of organization, structure and pattern, while dancing is
the act of moving rhythmically and expressively to an
accompaniment.

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Essential Content

Dance and its Scope cover the cultural backgrounds, meaning of

dance, formation, elements of dance, movements, abbreviation and
sign used in dance, while. Phases of the Dance Program cover the
creative rhythm, ethnic/folkdance, social/ballroom, religious,
festival, and creative dance.

Dance and its Scope

The early Greeks made the art of dancing into a system,
expressive of all different passions. For example, the dance of the
Furies, so represented, would create complete terror among those
who witnessed them. The Greek philosopher, Aristotle, ranked
dancing with poetry and said that certain dancers, with rhythm
applied to gesture, could express manners, passions and actions.
The most eminent Greek sculptors studied the attitude of the
dancers for their art of imitating the passions.
Throughout the history, people have danced as part of
religious rituals and social celebrations. It is traceable through
many prehistoric documents. Court dancing has existed perhaps
as long as there have been kings and queens.
A brief outline might include folk, social, ballroom, religious
and experimental dance forms. One major branch of dance is
Theatrical Dance as it has evolved in the western world. However
the dance that we can recognize and know now is ballet, which
first evolved in the renaissance of the 1500s in France.
Cultural Background of Dance

From the earliest history of humans, dance has played an

important part of the cultural and religious life. In primitive
cultures, dance was often used to celebrate the stages of life, such

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as becoming an adult, marriage and death. It also has always been

used to communicate from one generation to the next, or one
culture to another, the stories and history of the people and their
culture. In all societies, dance as used as an important part of
religious ceremonies, as well.
A. Abbreviations and Signs used in Dance

L ……………………………… left (foot, arm or hand)

R ……………………………… right (foot, arm or hand)
ct ……………………………… count
cts ……………………………… counts
M ……………………………… measure or measures
X ……………………………… boy
O ……………………………… girl
……………………………… direction where going or
facing
B. Formation used in Folk Dances and other Rhythmic Activities

Circle formation Double circle formation Square formation

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Rectangle formation Diagonal formation

Single line formation Double line formation

V-formation L- formation

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C. Elements of Dance
Dance involves rhythm, which takes into consideration the
measurement of time, space, weight and energy. These four are the
major elements of dance.
1. Space – this refers to the use of immediate area or surroundings of
the dancer. The area where the various formations or floor patterns
are done, the area covered by the performer as he travels from one
spot to another, the shapes formed by the body in movement, and
the designs on space made by the moving limbs.
2. Time – this refers to the duration of dance performance, tempo,
rhythmic variations and the attitude toward filling time from taking
one’s time to make quick stops and starts.
3. Weight – the use of the body’s weight is important in dancing in
order to overcome the pull of gravity to execute light, graceful
movements such as in the performance of ballet, surrendering to
gravity with heavy or limp movements as in many
indigenous/tribal dances, or exerting the body’s weight against
gravity with strength as in modern dance and jazz dance.
4. Energy- this refers to the capacity to execute movements, dance
figures, a series of figures, a whole dance or a series of dance.
Energy is significant in order to execute tense, restrained or bound
movements of free-flowing motion.
5. Music – serves as accompaniment for a dance performance. It
could be as simple as hand claps, humming or chanting as
complicated as choral singing or musical ensemble such as band
or orchestra.

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6. Costume – this refers to special clothing worn only for dance

performances. Costumes usually differ from ordinary dresser worn
daily in terms of cut, color and materials.
7. Spectacle – from the term itself, a spectacle is a certain quality
done to the dance to make it attractive for viewing by an audience.
This means lavish costuming, choreography, movement
enhancements, sets, props, and other theatrical elements.
8. Movement - is the act or an instance of moving wherein there is a
change in place or position. It refers to the dance steps and basic
body movements required of a particular dance.

D. Elements of Movements
1. Theme is the main story line of the dance. It tells what the dance
is all about. This can be a love theme, can be futuristic, can be
ritual etc.
2. Movement refers to the dance steps and basic body movements
required of a particular dance.
3. Technique is a system of movements performed by a dancer
4. Choreography pertains to the organization of the movement and
figures in the dance. This makes use of the theme and movements
of dance steps.
5. Music gives life to the dance. This should be in accordance with
the theme and pattern of movements of the dance.
6. Accessories, Costume and Properties are what the dancer wears
in addition to the costume such as the earrings, necklace, bells,
feathers etc. A costume refers to what the dancers should wear,
and properties refer to the things held and used by the dancer.
7. Scenery denotes the background on stage. It completes the whole
setting of the dance. This involves back draft of the stage and the
properties placed on the stage.

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8. Design refers to the floor pattern in relation to space.

9. Gravity is the force that holds you to the earth. It is a force you
take to work with because it constantly inhibits movement.
10. Balance is concerned with more than balancing on one leg.
Your aim is to achieve and constantly maintain an inner balance of
the whole body. It is tension of mutual support among all parts
that brings the whole together in a new way.
11. Posture to achieve this element you need to change your
perception of your body, there is often a wide discrepancy between
what feels right and what looks right. Dancers work their entire
dance live on their posture, also called alignment. It is the key to
balance and movement.
12. Gesture involves using the body as an expressive instrument
to communicate feelings and ideas in patterns of movement. With
subtle gestures and postural attitudes we show cooperation, give
confidence to friends or display aggression to enemies.
13. Rhythm is largely matter of paying attention. It is something
everybody has; though some people are not so aware or sensitive to
it. Our hearts beat to a rhythm, our lungs breathe to another.
14. Moving Space you need to be aware of the space around you
as a cat. You have to move with care and awareness, gauging the
space. Space is not just empty air but tangible element that you
move through.
15. Breathing is crucial to dance. Not only does it bring oxygen to
the body but it also gives your movement fluency and harmony. It
is an expressive tool.

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Phases of the Dance Program

The ‘’dance education’’ informally starts early in life. In fact in

tribal communities, children at a very young age are exposed to the
dances of their communities as a means of telling stories or
stressing social values. In traditional Asian societies, the training
of classical and theatre dancers start at a very early age.

Formally, the dance education program starts as soon as the

child goes to school; the teaching of dance is chronologically
arranged from simple rhythm development to complicated forms.

1. Creative Rhythm – is the end product of the development of

movements as children learn to move the different parts of their
bodies as means of their own ideas and expression. Because of
their imitative nature and being based on creative interpretation of
themes and motifs, creative rhythms are sometimes called
interpretative dances. Creative rhythms can be taught to children
using the following themes as bases: Nursery rhymes, Poems,
Songs, Animal/Plant movements and Domestic/Occupational
activities.

2. Folk/Ethnic Dance – Folk dances are so called because they have

ancient origins from within a community or people (hence the term
“folk”) These dances are also known as traditional dances based
on the fact that they are handed down from generation to
generation, the term “tradition” is being learned by the younger
generations informally through imitation rather than by formal
instruction. Dances of the people depict their way of life, their
culture, tradition, rituals, occupation and emotion etc. Folk dances
show stories of the people, products of certain tribes, mimicry of
certain animals etc.

Folk dances are sometimes referred to as ethnic dances, because

of their being “ethnic” which means being a characteristic of a

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particular group of people, or coming from a particular place. This

term means that ethnic dance does not just refer to those dances
which are labeled as “tribal” or those done by indigenous groups
or primitive tribes dancing around a bonfire. The term ethnic could
also refer to the dance called “polka” which is a social dance which
had its beginnings from the native inhabitants of Bohemia which is
now the Czech Republic.

Folk dancing is taught in school in all educational levels in order to

make the younger generations aware of their own cultural
expressions and develop in them the sense of national pride,
identity and patriotism. Folk dance troupes are also organized by
many groups in order to preserve and promote cultural and retain
ethnic identity and pride.

3. Social and Ballroom Dance – social dances are usually done to

introduce people attending a formal social gathering to each other
or welcome guests to a social gathering. Many of the social dances
like polka and mazurka started as folk dances while others were
deliberately designed for that purpose, such as the waltz, rigodon
and polonaise.

Some forms of social dance are ballroom dance, which is performed

by a male and female couple during grand balls. Many ballroom
dances originated as folk dances from Europe such as the polka,
schottische, waltz and mazurka or had origins from Latin America
such as samba, bossa nova, and carioca from Brazil, tango from
Argentina, cha cha cha, salsa, rumba, conga, and mambo from
Cuba and cumbia from Columbia. Ballroom favorites like jive,
foxtrot, Lindy hop, swing and Charleston are obviously of American
origins.

4. Recreational Dances – are informal kind of dances performed in

informal atmosphere. Dances are done merely for fun and
enjoyment. It includes square dance, dance mixers, line dance,
circle dance, game dance, song-dance and couple dance during an

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informal social gathering. They could be either folk or popular

dances.

5. Creative Dance – is the highest phase in the dance program.

Original dance pieces as created by the choreographer. The
purpose of the creative dance is to entertain. Creative dances are
basically classed as spectacular dance that is performed for
viewing by an audience and requiring the dancers to undergo
diligent and extensive training in a particular dance discipline.

SELF-SUPPORT: You can click the URL Search Indicator below to help you further understand the lessons.

Search Indicator
Andin, C., (1993) Philippine Dances ( A textbook in Philippine
Dances). Rex Book Store.

Arellano, R., et al. (2008) Physical Education II (Rhythmic and

Dance).
Philippines: Mutya Publishing House, Inc.

Diñoso, C. (1990) Gymnastics Book. Philippines: Rex Book Store.

Dimapilis, N., et al. (2010) Physical Education 2 (Rhythmic

Activities).Philippines: Books atbp. Publishing Corp.

Domingo, J.,et al. (2009) Physical Education II (Beginner’s Dance

Book). Philippines: Mutya Publishing House, Inc.

Luna, L., et al. (2009) Music, Art, Physical Education I (MAPEH).

Philippines: St. Bernadette Publishing House Corporation

Perez, V., et al. (2004) MAPEH III . Philippines: St. Bernadette

Publications, Inc.

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