Senior High School

Core

Republic of the Philippines

Department of Education
Region I
SCHOOLS DIVISION OF ILOCOS NORTE

Physical
Education and
Health 12
Quarter 1 – Module 2:
Sets Dance FITT Goals

SDOIN_Core_PEH3_Q1_Module1
Physical Education and Health – Grade 12
Crafting-Resources-for-Accessible-and-Flexible-Teaching (CRAFT)
Quarter 4 – Module 7: Participation in an Organized Recreational
Activity
First Edition, 2023
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Published by the Department of Education

Secretary: Sara Z. Duterte
Undersecretary: Gina O. Gonong

Development Team of the Module

Writers: Rafael C. Simeon , Marco Felino C. Macaspac

Editor: Raffy A. Tagavilla , Ringo Antonio
Reviewers: Zyrill Ianna Pauline D. Pe Benito, Rafael C. Simoen
Illustrators: Marco Felino C. Macaspac
Layout Artist: Raffy A. Tagavilla
Management Team: Donato D. Balderas
Joye D. Madalipay
Ursino C. Pascua
Jenetrix T. Tumaneng
Gene D. Reginaldo
Zyrill Ianna Pauline D. Pe Benito
Division Design & Layout Artist: Jannibal A. Lojero , Rey L. Miguel

Printed in the Philippines by ______________________________

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Office Address: Brgy. 7B, Giron Street, Laoag City, Ilocos Norte
Telefax: (077) 771-0960
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 Senior High School

Physical
Education and
Health 12
Quarter 1 – Module 2:
Sets Dance FITT Goals

MELC: Set Frequency Intensity Time Type (FITT) goals

based on training principles to achieve and/or maintain
health-related fitness (HRF); PEH12FH-Ii-j-7

Prepared by:

RAFAEL C. SIMEON
Teacher III
Piddig National High School

MARCO FELINO C. MACASPAC

Master Teacher I
Bingao National High School
Introductory Message
This Contextualized Learning Module (CLM) 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 with ease.
This CLM is composed of different parts. Each part shall guide you
step-by-step as you discover and understand the lesson prepared for you.
Pre-test is provided to measure your prior knowledge on the lesson.
This will show you if you need to proceed in 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 this module, you need to answer
the post-test to self-check your learning. Answer keys are provided for all
activities and tests. We trust that you will be honest in using them.
In addition to the material in the main text, Notes to the Teacher is also
provided to our facilitators and parents for strategies and reminders on how
they can best help you in your home-based learning.
Please use this module with care. Do not put unnecessary marks on
any part of this CLM. Use a separate sheet of paper in answering the exercises
and tests. Likewise, read the instructions carefully before performing each
task.
If you have any question in using this CLM or any difficulty in
answering the tasks in this module, do not hesitate to consult your teacher
or facilitator.
Thank you.
 What I Need to Know

This module was designed and written with you in mind. It is here to
help you master the nature of Physical Education and Health. The scope of
this module permits it to be used in many different learning situations. The
language used recognizes the diverse vocabulary level of students. The lessons
are arranged to follow the standard sequence of the course. But the order in
which you read them can be changed to correspond with the textbook you are
now using.

The module is divided into three lessons, namely:

• Lesson 1 – Principles of Physical Activity and FITT Goals
• Lesson 2 – Folk Dances and its Nature and Classifications
• Lesson 3 – Folk Dance Steps in simple duple, triple, and quadruple meter

After going through this module, you are expected to:

1. understand the principles of physical activity in a folk dance performance;
2. set Frequency Intensity Time Type (FITT) goals based on a folk dance
performance;
3. identify the meaning of Folk Dance, its nature, and classifications;
4. execute and perform different Folk Dance steps in simple duple and triple
meter; and
5. understand and value the importance of performing Folk Dance as a Physical
Activity.

What I Know
Activity 1. DIAGNOSTIC.
Read each question carefully and choose the letter of your choice. Write
your answer in one-fourth sheet of paper.
1. Which dance requires you to review the cultural origin of a place or group of
people?
A. Hip-Hop C. Folk Dance
B. Contemporary D. Cheer Dance

2. This is the recommended minutes for physical activities like dancing.

A. 50 minutes C. 70 minutes
B. 60 minutes D. 80 minutes

1 SDOIN_Core_PEH3_Q1_Module1
3. Which of the following is the best benefit of dancing?
A. Entertainment C. To document
B. Showcase talent D. Fitness

4. Compute the Maximum Heart Rate of a 16-year old student.

A. 204 C. 60
B. 144 D. 165

5. In FITT principle, what is the meaning of intensity?

A. The ability of a certain dancer to endure a particular activity
B. It is the time required to finish a certain activity
C. The fastness of a dancer
D. the rate of at which the dance is performed

6. How do Philippine Folk Dances usually start?

A. With a prayer
B. With a saludo
C. Running towards the center
D. With a marching steps

7. What do you call the dances that are performed with religious practices?
A. Courtship C. Occupational
B. Game D. Religious

8. Which of the following is NOT a classification of dance according to its

nature?
A. Game C. Occupational
B. Local D. Religious

9. The following are occupational dances EXCEPT one. Which is it?

A. Empanada C. Sayaw Sa Bangko
B. Agdamdamili D. Dinaklisan

10. Which of the following suites comprises the dances of the Indigenous Groups
from the Non-Muslim areas in Mindanao?
A. Lumad C. Western-influenced
B. Cordillera D. Countryside

2 SDOIN_Core_PEH3_Q1_Module1
 Lesson Principles of Physical Activity
1 and FITT Set Goals
What’s In

ACTIVITY 2. LITERACY-READING.
The Principle of Physical Activity

1. Overload Principle - this is the most basic principle that indicates doing more
than normal for improvement to happen. For example, if a dancer’s goal is to
improve upper body strength, he would continue to increase training weight
loads in upper body exercises until his/her goal is achieved.

2. Principle of Progression – it is a gradual increase in exerting effort or load

that is done not too slowly, nor too rapidly. The Principle of Progression makes
us realize the need for proper rest and recovery.

3. Principle of Specificity - suggests that overloading must specifically train a

desired body part for it to improve. Select exercises with emphasis on
stretching out the muscles and joints. Use the appropriate type of exercise
that directly improves your target muscles.

4. Principle of Reversibility - this shows that benefit and changes achieved

from overload will last only if training is continuous. The effect of training is
discontinued. Athletes lose the effects of training after they stop working out;
however, the detraining effects can be reversed when training is resumed. In
short, detraining starts to occurs within a relatively short time period after
training ceases.

Note the Teachers

The teacher must consider the prerequisite skills
needed in the development of this competency including the
schema or background knowledge which may reinforce
learning. This module will help the learners bridge the gap of
learning to attain mastery of the lesson in its spiral
progression.

3 SDOIN_Core_PEH3_Q1_Module1
 What is New
The FITT Principle of Physical Activity: Dance

1. Frequency – refers to the number of times you dance in a week.

2. Intensity – the rate of at which the dance is performed. It is also
referred to as the magnitude of the effort required to dance.
3. Type - it is determined by the following the principle of progression
and specificity. Select the type of dance that challenges the body to
accept an increase in work and answers your need.
4. Time – the duration or length of session of a dance.

Activity 3. Self-Assessment and Reflection.

Below is an FITT Table. Self-assess your dance FITT goals and after
answer the processing question essay. Keep it simple and short.

Table 1. FITT Table

FITT Questions Your Answer
Frequency How many times do you dance in a
week
Intensity What is the intensity level of your
dance?
Time How much time do you consume
dancing?
Type What type of dance you always
perform?
Processing Question:
1. What factors should be considered when designing a personal dance fitness
program?
Table 2. FITT Principle Table : Dance
FITT Principle Table : Dance
F Frequency of How often Beginner 3-5 days per week
Dancing
Moderate to High 5-7 days per week
I Intensity of How hard Beginner Less than per 145
Dancing bpm
Moderate to High 145-186 bpm
T Time How long Beginner 20-30 minutes
duration of
Dancing Moderate to High 30-60 minutes
T Type of Which dance Traditional to High (folk and ethnic)
Dance Hip-hop / street dance
Modern
Contemporary
Social Dance / Ballroom Dance
Festival Dance
4 SDOIN_Core_PEH3_Q1_Module1
 What is It
ACTIVITY 4: INTERDISCIPLINARY/ NUMERACY:
My Target Heart Rate (to determine the intensity level target)
Directions: Go over your recorded fitness results from the self-testing activity as basis
in computing the target heart rate (THR) range. Compute you target Heart rate range
in 4 steps. Fill in the blanks below.

MY TARGET HEART RATE

Get the Maximum Heart Rate Example:
MHR = 220 - ________ (your age) Age:15
RHR = 60
MHR = __________ MHR = 220 – 15
MHR = 205
Determine the Heart Rate Reserve
HRR = MHR - _______________ (Resting Heart Rate) HRR = 205 – 60
HRR = _____________________ HRR = 145

Take 60% and 80% of the HRR

60% x HRR = _________________ 60% x 145 = 87
80% x HRR = _________________ 80% x 145 = 116

Add each HRR to Resting Heart Rate (RHR) to obtain the Target Heart Rate (THR)
range.
60% HRR 87 + 60
(RHR) = 147 beats per minute

80% x HRR 116 + 60

(RHR) = 176 beats per minute

Therefore, your target heart rate range is 147 to 176 beats per minute. When
performing physical activities, your heart rate is within the normal range therefore,
you have to select moderate- vigorous activities that will make your heart rate pump
within the THR range of from 147 to 176 beats per minute.)

5 SDOIN_Core_PEH3_Q1_Module1
 Lesson Folk Dances and its Nature
2 and Classification

What’s More

ACTIVITY 5. LITERACY-READING.

Monica Fides Amada Santos (2019) stressed in her Philippine Folk Dances: A
Story of a Nation, she elucidated that Folk dances are expressive forms involving
human body movement that are practiced in the context of community life, while
folkdances are representations of folk dances that are performed for the stage.

Aquino (1953) stressed that, in the Philippines, long before the exploration
of our country by the Spaniards in 1521, the archipelago had been inhabited by three
racial groups: the Pygmies; Indonesians; and Malays. Pigafetta, a chronicler with
Magellan in his expedition, says that when they arrived in Cebu on April 7, 1521,
they saw young men playing musical instruments and performing native dances as
a form of entertainment for the visitors. Dancing among the Negritos was mostly
pantomimic, performed to depict the events of daily chores. It was also considered a
religious activity since dances were performed by priests in thanksgiving for a
plentiful harvest, victorious battle, a prosperous voyage or recovery from sickness.
This is a proof that even before the coming of the Spaniards, folk dancing was popular
in the island.

The Philippine Folk Dance Society (2015) stated that during the Spanish
regime, dancing played an important role in the social activity of the people. Among
the Christianized groups, the Komintang was the oldest dance and song, which is a
pantomime song and dance. Along with the coming of the Spaniards, they brought
the dance culture of the west to the Philippines such as the Fandango, Lanceros,
Rigodon, Curacha, Polka, Valse, Mazurka and many others. The folk dances of today
are adaptations of these old native dances.

As for Filipinos, we love singing, dancing and feasting. For centuries, this has
been a prominent aspect of our national life. Since our country is composed of
numerous islands in scattered positions, a great variety of dances are found with
different customs and traditions, for all occasions (Aparato, 2017.)

The Bayanihan Dance Company and Ramon Obusan Folkloric Group (ROFG)
are two of the most famous and internationally acclaimed dance companies in the
Philippines in terms of folk dancing. They have developed different styles and
approaches in performing our dances into the stage. When Philippine folk dance is

6 SDOIN_Core_PEH3_Q1_Module1
performed at full length by these two dance groups and Manila-based folk dance
troupes, a standard program is generally composed of five categories or “suites.”
Below are based from Aquino (1953), PFDS (2015), Aparato, et. al. (2017).

1. Cordillera – these are dances of the mountain Indigenous Peoples in Northern

Luzon, such as those of the collectively known as “Igorots.” These dances
reflect the way of life in the mountains with animistic beliefs that existed long
before any Spaniard or foreigners stepped foot on the Philippines. The
distinguishing characteristics of this suite are the bright costumes and g-
string (ba-ag) and tapis that portray the Igorot groups (Ifugao, Kalinga, Isnag,
Gaddang, Ibaloi, Bontoc, Itneg, etc.). Wooden, bamboo, and gong instruments
accompany the dances.
Examples:
Ragragsakan Idudu Tadek
Banga-Salidsid Bendian Tarektek
Ngilin Man-manok Balambang

2. Western-influence – also known as “Maria Clara suite” shows dances with

strong western (mainly European) influence practiced among mestizo elites.
This includes the jotas and rigodons that the Spaniards brought in the
country. It may display a strong Spanish influence, however, these dances
were “Filipinized” as evident in the use of bamboo castanets and the abanico.
Formal attires are used such as Maria Clara dress and Barong Tagalog,
embroidered and made of piña and jusi fibers. This is accompanied with a
Rondalla string ensemble.
Examples:
Jota Laoagueña Malagueña Komintang
Habanera Botoleña Cariñosa Paseo de Iloilo
Mazurka Boholana Pantomina Jota Vintariña

3. Muslim - this suite presents dances of Islamized groups in Mindanao and

Sulu archipelago, such as Maranao, Maguindanao, Samal, Yakan and Tausug
dances to name a few, which bear similarities in movements with the
neighboring countries such as Indonesia and Thailand. It is characterized by
vivid colors and rhythmic movements which reflect the influence of Arabian
and Indo-Malaysian cultures.
Examples:
Singkil Pangalay Asik
Kapa Malong-Malong Sagayan Pansak
Pigapir

4. Rural – Also known as the Countryside suite, presents cheerful and playful
dances of rural folks, such as which show unique fusion of western and local/
indigenous forms of dancing found at a mass level. This suite illustrates the
fiesta spirit and love of life. They express joy in work, a love for music, and
pleasurable simplicities of life. Typical attires include colorful balintawak and

7 SDOIN_Core_PEH3_Q1_Module1
 patadyong skirts for girls while camisa de chino and colored trousers for the
boys.
Examples:
Sayaw sa Bangko Binatbatan Oasioas
Pandanggo sa Ilaw Maglalatik Inalimango
Lapay Bantigue Tinikling Binasuan

5. Lumad – This suite is a classification of dances found in the non-Muslim

and non-Christian indigenous groups in Mindanao—such as the T’boli,
Bagobo, Manobo, B’laan, Subanen, Bukidnon, Talaandig, etc. This shows
the cultural minorities that live in the hills and mountains of Mindanao who
still continues their animistic beliefs and is closely intertwined with
ceremonies and rituals.
Examples:

Kadal Tahu Taming Ameameayatok

Kadal Blilah Sohten Soryano
Dugso Kinugsik-kugsik Karasaguyon

These are the forms of Philippine folk dance that dance groups use to classify
their dances for a more organized and better staging. However, Philippine folk dances
are actually classified according to the geographical extent of its origin and its nature.

Lastly, in our country, our dances have a unique combination of Occidental

(western) and Oriental (eastern) movements. Our contacts with the neighboring
countries and with the Spaniards for more than three centuries has influenced our
music and dances. Since we, Filipinos, love singing, dancing, and feasting, these
became a prominent aspect of our lives. We celebrate every occasion with feasting
and dancing. These functions classified each dance according to the geographical
extent of origin and the nature of the dance. These are the following:

A. Geographical Extent of Origin - This classifies dances according to the

place where it originated and where it is performed.

1) National Dances – These are dances found throughout the island

with little or no modification.
Examples:
Rigodon Cariñosa Kuratsa
Pandanggo Jota Surtido
Lanceros Habanera

2) Local Dances – These are dances found only in a certain locality.

Examples:
Ilocana a Nasudi – Ilocos Norte
Tinikling – Leyte
Subli – Batangas
Maglalatik - Laguna
Sakuting – Abra

8 SDOIN_Core_PEH3_Q1_Module1
B. Nature of Dance - This classifies the dances according to its function in the
society.
1) Occupational Dances–These are dances that depict action of certain
occupation or livelihood.
Examples:
Sala ti Mais – Isabela Binatbatan –Ilocos Norte
Gaod – Zambales Pasigin – Capiz

2) Religious or Ceremonial Dances – These are dances performed in

connection with religious practices and ceremonial activities. These are
performed to either drive away evil spirits, ask a favor to have a child,
give thanks for having recovered from sickness, favors granted or vows
fulfilled.
Examples:
Dugso Putong
Subli Saraw
Sinurog Santa Clarang Pinong-Pino

3) Comic Dances – It depicts funny movements for entertainment.

Examples:
Kinoton Kimbo-kimbo
Pinuhag

4) Wedding Dances – These are performed during wedding feasts or

marriage celebrations.
Examples:
Soryano Pandanggo Ariquenquen
La Jota de Paoay Pandang-pandang,
Panasahan Habanera Botoleña
Pantomina

5) Mimetic Dances – These are dances that mimic animals, inanimate

objects or other people.
Examples:
Itik-itik Kadal Tahu
Makongo Lapay Bantigue
Kalapati Bilaskogay

6) Game Dances – These are dances with play elements.

Examples:
Lubi-lubi Pukol
Konan Sagakad

7) Courtship Dances – These are dances that depict love and courting.
Examples:
Cariñosa Tadek
Kumakaret Banga-Salidsid

8) Festival Dances – These are dances which are suitable for social
gatherings and feasts.
Examples:
Pandanggo Habanera
Jota Surtido
9 SDOIN_Core_PEH3_Q1_Module1
 9) War Dances – These are dances showing imaginary combat or war.
Examples:
Sagayan Palo-palo
Maglalatik Taming
Sohten

10) Social Amenities Dances – These are dances that express social
graces, hospitality and offerings of gifts to friends. These are
“Filipinized” ballroom dances.
Examples:
Minuete Yano Rigodon de Honor
Lanceros de Tayabas Rogodon Royale

Characteristics of Philippine Dances

1. As a rule, dances begin and end with a saludo.

2. In general, dancers are far apart. A distance of about six to eight feet
from each other.
3. There is very little, if any, body contact although holding hands is
common.
4. Most dances are done in pairs.
5. Most dances are done in long formation.
6. Dances are performed by both young and old and by both sexes.

10 SDOIN_Core_PEH3_Q1_Module1
 Lesson Basic Dance Steps in Duple,
3 Triple, and Quadruple Meter
ACTIVITY 6. LITERACY-READING. UNDERSTANDING RHYTHMS AND
METER
Philippine Folk Dance uses an array of various steps depending on the nature,
character and form of dance. With these steps, the message and story of the dance
is being portrayed efficiently and mirrors the culture of the locality where a certain
dance comes from.
From the previous lesson, you were able to learn the different hand and arm
movements, and the different terminologies that are used in folk dancing. These
movements give beauty and expression to the dancer who is conveying a certain
message. Doing movements of the hands and gestures add more emphasis to the
message you want to convey.
Now, we are going to tackle the different dance steps in folk dancing. These
are widely used in almost all of the dances in the Philippines, adding flavour to every
gestures and expressions the dancer executes. You are going to learn its counting
pattern, note pattern, and step patterns. Brace yourself for a lesson worth moving.
You will experience to get up from your chair, and execute and perform these different
dance steps.
Rhythm is the arrangement of regular/irregular and strong/weak repetitive
pattern of sound or movement. Before you proceed in learning the different dance
steps, let’s recall first the component of rhythm which is used in dissecting the
movements in a dance step which is the Meter.
Meter is the arrangement and combination of rhythms which are strong and
weak beats. The common examples of time signatures are , , and .

Listen to the following audio clips online and clap the different counting
patterns for each time signature for you to be able to familiarize yourself with the
counting patterns.

11 SDOIN_Core_PEH3_Q1_Module1
 Table 3. Time Signature, Note and Counting Pattern of Simple Meters
Time Note and Counting Pattern Audio File
Signature

1 2
Leron Leron Sinta

1 2 and https://www.youtube.com/watch?v=i
ugkghH7IEE&feature=youtu.be

1 and 2 and

1 and 2

1,2

1 2 3

1 2 3 and Oasioas

https://www.youtube.com/watch?v=
1 and 2 and 3 and ey7eebZNZq0&t=139s

1,2 3

1 2,3

1 2 3 4
Haplik

1 and 2 and 3 and 4 and https://www.youtube.com/watch?v=

r-5F5kij258

1,2 3,4

ACTIVITY 7. LITERACY-READING AND NUMERACY SKILL

DEVELOPMENT ON BASIC DANCE STEPS IN DUPLE, TRIPLE, AND
QUADRUPLE METER.
A. Basic Dance Steps in Time Signature

Duple meter or time signature is one of the common meters that are used
in dancing because of its simple and lively mood wherein it only has two beats per
measure. The following are the common dance steps in this time signature.

Legend: R – Right Foot L – Left Foot M – Measure || - end of a Measure

12 SDOIN_Core_PEH3_Q1_Module1
 Table 4. Basic Dance Steps in Duple Meter
Dance Step Step Pattern and Counting Pattern Measure
1. Change Step Step R(L) Close L (R) Step R (L)|| 1M
1 and 2
2. Chasing Step R(L) Close-step L (R)|| 1M
1 and
3. Cross Cross- Step R(L) Close L(R) Step R(L) || 1M
Change Step 1 and 2
4. Contraganza Leap R(L) Cross-step (L) R Step R(L) || 1M
1 and 2
5. Cut Step Cut or displace R(L) || -
1
6. Galop Step R(L) Cut L(R) Step R(L) Cut L(R) || 1M
1 ah 2 ah
7. Habanera Step R(L) Close L(R) Step R(L) || 1M
1 2 and
8. Haplik Step R Step L || Hop L Hop L || Step R Step L Step R || 8M
1 2 1 2 1 and 2
(turning)
Hop R Hop R || Step L Step R Step L || Hop L Hop L ||
1 2 1 and 2 1 2
(turning)
Step R Step L || Close R Pause ||
1 2 1 2
*This is the longest dance step in time signature
9. Heel and Heel-place R(L) Toe-point R(L) || 2M
Toe Change 1 2
Step Step R(L) Close L® Step R(L) ||
1 and 2
10. Korriti Cross-Step R(L) Step L(R) Step R(L) Step L(R) || 1M
1 and 2 and
11. Mincing Step R(L) Step L(R) Step R(L) Step L(R) || 1M
1 and 2 and
12. Plain Step R(L) Close L(R) Step R(L) Pause || 1M
Polka 1 and 2 and
13. Hop Hop L(R) and Step R(L) Close L(R) Step R (L) Pause || 1M
Polka 1 and 2 and
14. Shuffling Slide R(L) Slide L(R) Slide R(L) Slide L(R) || 1M
1 and 2 and
15. Skip Step R(L) Hop R(L) Step L(R) Hop L(R) || 1M
Step 1 ah 2 ah
16. Four Step R(L) Turn and Step L(R) || 2M
Step Turn 1 2
Turn and Step R(L) Step(Close) L(R) ||
1 2

13 SDOIN_Core_PEH3_Q1_Module1
 B. Basic Dance Steps in Time Signature

Triple meter or time signature is one of the common meters that are used in
dancing wherein it is of many dance forms that the Spaniards brought in the country
during the colonization which includes the Valse, Mazurka, Jota, Fandanggo and the
like. It has three beats per measure. The following are the common dance steps that
are used in this time signature.

Table 5. Basic Dance Steps in Triple Meter

Dance Step Step Pattern and Counting Pattern Measure
1. Bacui Cross-point R(L) Step R(L) || Cross-Step L(R) Step R(L) || 4M
1,2 3 1,2 3
Cross-step L® Step R(L) || Close L(R)
1,2 3 1,2,3
2. Engaño with Step R(L) Cross-step L(R) || Step R(L) Close L(R) || 2M
a Close 1,2 3 1 2,3
3. Engaño with Step R(L) Cross-step L(R) ||Step R(L) Close L(R)Step R(L) || 2M
a Close 1,2 3 1 2 3
4. Kuradang Step R(L) Close L(R) Step R(L) Cross-Step L(R) || 2M
1 and 2 3
Step R(L) Close L(R) Step R(L) Point L(R) ||
1 and 2 3
5. Mazurka Slide R(L) Cut L(R) Hop L(R) || 1M
1 2 3
6. Papuri Step R(L) Cross-Step L(R) || Cross-point R(L) || 2M
1,2 3 1,2,3
Step L(R) Cross-Step R(L) || Cross-step R(L) ||
1,2 3 1,2,3
7. Paso Step R Close L and raise both heels Both Heels down || 4M
Español 1 2 3
Step L Close R and raise both heels Both heels down ||
1 2 3
Step R Brush-swing L Hop R ||
1 2 3
Step L Brush-swing R Hop L ||
1 2 3
8. Redoba Slide R(L) Cut L(R) Cut R(L) || 1M
1 2 3
9. Mudansa Step R Heel-Brush L Heel-Step L || 16M
1 2 3
Close R Heel-brush L Heel-step L ||
1 2 3
Close R Heel-brush L ||
1 2,3
Step L Heel-Brush R Heel-Step R ||
1 2 3

14 SDOIN_Core_PEH3_Q1_Module1
 Close L Heel-brush R Heel-step R ||
1 2 3
Close L Heel-brush R ||
1 2,3
Step R Heel-Brush L Heel-Step L ||
1 2 3
Close R Heel-brush L Heel-step L ||
1 2 3
Close R Heel-brush L ||
1 2,3
Step L Heel-Brush R Heel-Step R ||
1 2 3
Close L Heel-brush R Heel-step R ||
1 2 3
Close L Heel-brush R ||
1 2,3
Step R Close L Step R || Step L Close R Step L ||
1 2 3 1 2 3
Step R Close L Step R || Step L Close R Step L ||
1 2 3 1 2 3
(while turning)
*This is the longest dance step in time signature
10. Sagaman- Step R(L) Close L(R) || Step L(R) Close R(L) || 4M
tica 1 2,3 1 2,3
Step R(L) Close L(R) || Raise L(R) Heel-place L(R) ||
1 2,3 1 2,3
11. Step- Step R(L) Swing L(R) Hop R(L) || 1M
Swing-hop 1 2 3
12. Step- Step R(L) Brush-Swing L(R) Hop R(L) || 1M
brush-swing- 1 2 3
hop
13. Sway Step R(L) Cross-step L(R) || Step R(L) Point L(R) || 2M
balance with 1,2 3 1 2,3
a point
14. Sway Step R(L) Cross-step L(R) || Step R(L) Brush L(R) || 2M
balance with 1,2 3 1 2,3
a brush
15. Sway Step R(L) Cross-step L(R) || Step R(L) Close L(R) || 2M
balance with 1,2 3 1 2,3
a close
16. Sway Step R(L) Cross-step L(R) || 2M
balance with 1,2 3
a hop Step R(L) Raise L(R) Hop R (L) ||
1 2 3

15 SDOIN_Core_PEH3_Q1_Module1
 17. Sway Step R(L) Cross-step L(R) || 2M
balance with 1,2 3
a waltz Step R(L) Close L(R) Step R(L) ||
1 2 3
18. Double Step R(L) Cross-step L(R) || Step R(L) Point L(R) || 4M
Sway 1,2 3 1 2,3
Balance Cross-step L(R) Step R(L) || Point L(R) ||
1,2 3 1,2,3
19. Waltz Step R(L) Close L(R) Step R(L) || 1M
1 2 3
20. Waltz Step R(L) Close L(R) Raise both heels Step R(L) || 1M
Balance 1 2 3
21. Cross Cross-step R(L) Close L(R) Step R(L) || 1M
Waltz 1 2 3
22. Sañgig Step R(L) Close L(R) Circle on Air R(L) 1M
1 2 3

C. Basic Dance Steps in and Time Signature

There are also dance steps that can be used in both duple and triple meter.
Here are the following dance steps that can be used in both meters.

Table 6. Basic Dance Steps in Duple or Triple Meter

Dance Step Pattern and Counting Pattern Measure
1. Bleking Heel-place R(L) Close R(L) ||
1 2 or
1M
Heel-place R(L) Close R(L) ||
1,2 3
2. Close Step Step R(L) Close L(R) ||
1 2 or
1M
Step R(L) Close L(R) ||
1,2 3
3. Grapevine Step R(L) Cross-Step L(R) || Step R(L) Cross-step L(R) or
Cross-step R(L) Step L(R) || Cross-step L(R) Step R(R)
1 2 1 2. or
1M
Step R(L) Cross-step L(R) || Step R(L) Cross-step L(R) ||
1,2 3 1,2 3
4. Slide Step Slide R(L) Close L(R) ||
1 2 or
1M
Slide R(L) Close L(R) ||
1,2 3
5. Step Hop Step R(L) Hop L(R) ||
1 2 or
1M
Step R(L) Hop L(R) ||
1,2 3
6. Step Swing Step R(L) Swing L(R) ||
1 2 or
1M
Step R(L) Swing L(R) ||
1,2 3

16 SDOIN_Core_PEH3_Q1_Module1
 7. Touch Step Point R(L) Close R(L) ||
1 2 or
1M
Point R(L) Close R(L) ||
1,2 3
8. Parallel Pivot on heels and turn toes Pivot on toes and turn heels ||
Tortillier 1 2 or
Pivot on heels and turn toes Pivot on toes and turn heels ||
1M
1,2 3
9. Opposite Pivot toes together Pivot heels together ||
Tortillier 1 2 or
1M
Pivot toes together Pivot heels together ||
1,2 3

D. Basic Dance Steps in Time Signature

Quadruple meter is also used in Philippine Folk Dances, though there are only
few dance steps in this meter. Some of the dances in this time signature includes the
Escotis or Chotis, Rigodon and Lanceros.

Table 7. Basic Dance Steps in Quadruple Meter

Dance Step Step Pattern and Counting Pattern Measure
1. Chotis Brush R(L) Raise R(L) Brush R(L) Raise R(L) ||
1 2 3 4
Step R(L) Step L(R) Step R(L) Pause || 2M
1 2 3 4
(while turning in place)
2. Chotis Step R(L) Close L(R) Step R(L) Hop R(L)
(Ilocano) 1 and 2 and
Step L(R) Close R(L) Step L(R) Close R(L) ||
3 and 4 and
2M
Step R(L) Hop L(R) Step R(L) Hop L(R)
1 and 2 and
Step R(L) Hop L(R) Step R(L) Hop L(R)
3 and 4 and
3. Escotis Step R(L) Close L(R) Step R(L) Hop R(L) ||
1M
1 2 3 4

Foreign influence is very evident in most Philippine folk dances like waltz,
mazurka, polka and habanera. Among the non-Christian groups like the upland folks
in the Cordillera, an outstanding feet movement is a series of tiny steps with half-
bended knees signifying proximity or closeness of the dancers to the ground or the
earth which is the source of their food. It may also mean humility, courtesy or
shyness of the ethnic group. The stamping in Cagayan and Pangasinan dances is
done to drive the bad spirits, however, among the Bagobos of Mindanao, it is done
as a warning to women that bad elements are around (Rasos, 2016).

17 SDOIN_Core_PEH3_Q1_Module1
 What I have Learned
Activity 8. Let’s Recall.
Below are things that were discussed within the module. Specifically on the
Principles of Physical Activity and FITT Goals, Folk Dances and its Nature and
Classifications and Folk Dance Steps in simple duple, triple, and quadruple meter.
1. There are four Principles of Physical Activity, Overload Principle, Principle of
Progression, Principle of Specificity, and Principle of Reversibility.
2. The FITT Principle of Physical Activity means, Frequency, Intensity, Type,
Time.
3. There are five categories of Folk Dance based from the suites of Bayanihan
and Ramon Obusan Folkoric Group, Cordillera, Western-Influenced, Muslim,
Rural, and Lumad.
4. The two Classification of Folk Dances according to Origin are National and
Local.
5. The Nature of Philippine Folk Dances are as follows, Occupational Dances,
Religious Dances/ Ceremonial Dances, Comic Dances, Wedding Dances,
Mimetic Dances, Game Dances, Courtship Dances, Festival Dances, War
Dances, and Social Amenities Dances.
6. There are six Characteristics of Philippine Dances:
a. as a rule, dances begin and end with a saludo;
b. in general, dancers are far apart. A distance of about six to eight feet
from each other;
c. there is very little, if any, body contact although holding hands is
common;
d. most dances are done in pairs;
e. most dances are done in long formation; and
f. dances are performed by both young and old and by both sexes.
7. Basic Dance Steps can be danced using simple duple, simple triple, simple
quadruple meter. Duple meter has two beats in a measure where a quarter
note receives one beat. Triple meter has 3 beats to a measure where a quarter
note receives a beat. quadruple meter suggests that in a measure, it should
have 4 beats, and a quarter note receives one beat. In some cases, there are
dance steps that can be both executed in duple and triple meter - bleking,
close step, grapevine, slide step, step hop, step swing, touch step, Parallel
Tortillier, and Opposite Tortillier.

18 SDOIN_Core_PEH3_Q1_Module1
 What I Can Do
ACTIVITY 7. LET’S WORK IT ON.
Based from the Physical Fitness Testing Activity (HRF in Module 1), determine
your weakest and strongest component. The weakest component should be given top
priority in making the folk dance plan, which you will be creating. Following the
dance plan design below, select the basic folk dance steps as guided by the Principles
of exercises and the FITT goals. Take also consideration of your Target Hear Rate
range.
Table 7. My Daily Creative Folk Dance Plan
Name: ____________________________________
Grade Level and Section:_________________
My Target THR:__________________________
FITT Goals Frequency Intensity Type Time
Parts of the (Indicate days Light, Meter used (Total dance
dance plan of the week) Moderate to plan not less
vigorous than 60
minutes)
Warm-up
Work-out (Prioritize the
weakest
component
based on data)
1._____________
2._____________
3._____________
4._____________
5_____________
Cool Down

19 SDOIN_Core_PEH3_Q1_Module1
 Assessment

ACTIVITY 8. LET’S MOVE IT. Based from the different Basic Folk Dance steps
in Duple Meter, Triple Meter, and Quadruple Meter and you HRF result in Module 1,
make eight figures with 16 counts of Creative Folk Dance. For music, you may use
the following links in the table below to accompany your creative folk dance
Table 8. Music for the Creative Folk Dance
Time Title of the Video Link
Signature
Pamulinawen ( Ilocano Folk https://youtu.be/ooG9skSGxCE?si=
Song ) MAPEH 7 bBJlJpBQv1lPLFvX

Sagamantica
Ti Ayat Ti Maysa Nga Ubing
- Katutubong Mananayaw
https://youtu.be/gXRN6Vblu8w?si=
WiFgoBSzmk48wf2N
https://youtu.be/poaKKkgG5SE?si=
8fp2550jqCo4lDxN

Additional Activities
ACTIVITY 9. INTERPRET THAT FOLK DANCE. Below is a simple Folk Dance
Literature titled ‘Polka Ilocana’ from Ilocos Region by Carmen Tabije Andin
(2004). Composed of 2 groups in the section, record yourselves through a
video presentation dancing the ‘Polka Ilocana’ . Refer to the rubric and upload
the Folk Dance video in your class FB group (private) or group chat messenger
where your teacher is present.
For the music, use this link
https://youtu.be/Jy5AoTblOLU?si=rCMRkahwrOS0cZ1V title “Polka
Ilokana” in youtube.

20 SDOIN_Core_PEH3_Q1_Module1
21 SDOIN_Core_PEH3_Q1_Module1
22 SDOIN_Core_PEH3_Q1_Module1
23 SDOIN_Core_PEH3_Q1_Module1
 RUBRIC FOR THE ADDITIONAL ACTIVITY

POINT SCALE MASTERY ENERGY AND BEHAVIOR/TEAM

(Correct FITNESS WORK
execution of
steps and
choreography)
4- Displays Shows impressive Exhibits outstanding
OUTSTANDING impressive level of level of level of discipline
mastery proficiency in the and team work
execution of before, during and
steps displaying after the
excellent level of performance.
fitness.
3- Display high level Shows high level Exhibits very
VERY of mastery of proficiency in satisfactory dance
SATISFACTORY the execution of discipline and
steps displaying teamwork during
high level of and after the
fitness performance.
2 - Display medium Shows medium Exhibits satisfactory
SATISFACTORY level of mastery level of discipline and
proficiency in the teamwork before,
execution of during and after the
steps displaying performance.
acceptable level
of fitness
1– Display low level Shows low level Exhibits improving
NEEDS of mastery of proficiency in discipline and
IMPROVEMENT the execution of teamwork before,
steps displaying during and after the
low level of performance.
fitness

References
Books:

Aquino, Francisca Reyes. Fundamental Dance Steps and Music. Manila,

Philippines, National Book Store. 1952

Aquino, Francisca Reyes. Philippine Folk Dances Volume II. Manila, Philippines,
National Bookstore. 1953

Andin, Carmen Tabije., Miñas, P. L.. .Dance Education in the School Curriculum.
Manila, Philippines Rex Book Store, Inc. 2004

Aparato, C. et. al. Physical Education and Health Volume II. Manila, Philippines.
Rex Book Store. 2017

24 SDOIN_Core_PEH3_Q1_Module1
Philippine Folk Dance Society. A Classic Collection of Philippine Folk Dances.
Pasay City, Philippines. Magazine Printing. 2015

Articles:

Rasos, Arnora Edrozo. Hidden Meaning of Dance Movements. Kalayaan

Philippines- Hawaii International Ilocano Folk Dance Workshop, Laoag City.
2016

Websites:

https://pdfs.semanticscholar.org/7ee3/1f5ca3527b10691d131f97f745394e05970.
pd

https://sites.google.com/site/folkdancesofthephilippines/philippine-folk-
dance/classifications-of-philippine-folk-dance

25 SDOIN_Core_PEH3_Q1_Module1
 For inquiries and feedback, please write or call:

Schools Division of Ilocos Norte – Curriculum Implementation

Division
Learning Resource Management Section (SDOIN-CID LRMS)

Office Address : Brgy. 7B, Giron Street, Laoag City, Ilocos

Norte
Telefax : (077) 771-0960
Telephone No. : (077) 770-5963, (077) 600-2605
E-mail Address : sdoin.lrmds@deped.gov.ph
Feedback link: : https://bit.ly/sdoin-clm-feedbacksystem

Telefax: (632) 8634-1072; 8634-1054; 8631-4985

Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph