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PHYSICAL EDUCATION
Quarter 4 – Module 1
REGIONAL AND NATIONAL DANCES

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 MAPEH Physical Education – Grade 8
Quarter 4- SLeM 1:
HOW TO USE THIS SLeM
Before starting the module, I want you to set aside other tasks that will disturb you
while enjoying the lessons. Read the simple instructions below to successfully enjoy the
objectives of this kit. Have fun!
1. Follow carefully all the contents and instructions indicated on every page of this
module.
2. Write in your notebook the concepts that you learned. Writing enhances learning
and helps you keep in mind what is important
3. Perform all the provided activities in the module.
4. Let your facilitator/ guardian assess your answers using the answer key.
5. Enjoy studying.
Development Team of the SLeM

Writer/s: Erwin P. Alegre

Format Editor: Stephanie Jane D. Acido
Language Editor: Korina Espadilla
Content Validator: Mary Therese Dela Cruz
Reviewer: Bonifacio M. Pedrera

PARTS OF THIS MODULE

● Expectations - These are what you will learn after completing the lessons in the
module.
● Pre-test - This will measure what you already know about the concepts to be
mastered
throughout the lesson.
● Looking back to your Lesson - This section will measure what learnings and
skills you gained from the previous lesson.
● Brief Introduction - This section will give you an overview of the lesson.
● Activities - This is a set of activities you will perform.
● Remember - This section summarizes the concepts and applications of the
lessons.
● Check your Understanding - It will check what you have learned from the
lessons.
● Post-test - This will measure how much you have learned from the entire module.

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 LESSON: REGIONAL AND NATIONAL DANCES
WITH ASIAN INFLUENCE

At the end of the module, students should be able to:

1.discuss the origin and location of folk dance through its costume and
music;
2.execute selected regional and national dances with Asian influences
such as the Binislakan, Sakuting, Sua-ko-Sua and Pangalay;
3.demonstrate the dance sequence appropriately;
4.identify the meaning of the gestures and hand movements of the dance
selected; and 5. approximate interpretation of the dance literature
promote folk dancing as a physical activity for the family.

Pre- Assessment: To check how ready you are in terms of familiarity to dances with
Asian influence, here are some basic ideas or concepts which will lead you to answer
queries relative to performing these regional and national dances.
Part I- Examine the following pictures and answer the accompanying questions.

1. What general concept can be derived from the given pictures? Explain.
2. If you were to think of Asian countries that would closely relate to the given
pictures, what countries could that be? Justify your answer.
3. Are these dances influenced by other countries? Prove your point.
4. Just by simply looking at their costumes and props, can you give the place of
origin of these dances? What are your proofs to say so?
5. Can you give a storyline for each of these dances just by looking at their
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poses, costumes, and props?
6. Is there a need for proper expression in folk dancing? Does it speak of
something?

Identify what indoor recreational activity is appropriate for each terminology

given below. Write your answer on the space provided.
1. Bar: ______________________
2. Checkmate: ______________________
3. Bones: ______________________
4. Draw: ______________________
5. Promotion: ______________________
6. Pass: ______________________
7. Dots: ______________________
8. End-Game: ______________________
9. Blocking: ______________________
10. Castling: ______________________

Learning Goal: Describe and discuss the nature and characteristics of the dances.
Philippine folk dances speak so much about the heartbeat of our people for they tell about
our customs, ideas, beliefs, superstitions, and events of daily living in a certain
community. Just by looking at the costumes, props, and implements of a certain group
or tribe would tell you of the origin of the dance. The kind of music being used readily
also tells about the influences brought about by trade and settlement of our
neighboring countries such as China, Malaysia, Indonesia, Burma, Cambodia,
Thailand and Japan to name a few. Truly evident is the effect of acculturation in the
country as manifested by the kinds of costumes, props, music, and dance steps that are
used and integrated into some of our regional and national folk dances. The use of gongs,
kulintangs and the incorporation of pentatonic scale to our musical compositions
are just concrete proofs of acculturation in the country. These are the reasons why
Philippine folk dances contribute to the very rich culture of the country. The following
historical backgrounds and context of the dance literatures of Binislakan, Sakuting, Sua-
ku-Sua and Pangalay would give you a clear picture of the nature and background of these
regional and national folk dances. This will help you understand its significance and

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cultural value, including the beauty and complexity of the people’s lives living in those
places.
Study these dances carefully and imbibe in you their importance to the
development of cultural value.

BINISLAKAN (Lingayen)
Dance Researcher: Francisca Reyes
Meaning: With the use of sticks
Dance Culture: Christian Lowland
Place of Origin: Pangasinan
Country of Influence: China Ethno-linguistic
Group: Pangasinense
Classification: Social Dance

Background: Lingayen in Pangasinan means having to look backward and upward. It

was derived from “Li-King-Tung”, a Chinese word given to the name Lingayen, the capital
of Pangasinan, by the Chinese settlers of this place a long time ago. The barrio folks who
lived at Almazin, a small place between barrio Pangasinan (Pulong) and Maniboc danced
this to commemorate the stay of Limahong, a Chinese pirate who built his kingdom here.
The dancers look backward or upward in some of the movements; hence, the name
Lingayen. They also use two sticks to produce rhythms imitating the chopsticks used by
the Chinese in eating, so the dance is also called Binislakan, which in Pangasinan means,
with the use of sticks.
Dance Properties:
Costume Female: Siesgo and kimono with loose and long sleeves and soft panuelo
Male: Camisa de Chino and red pants
Music: 2/4 composed of two parts: A and B
Count: One, two, one and two, and one and two and
Formation : Partners stand about six feet apart. One or more pairs in a set can take
part in the dance, in any formation desired.

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SUA-KU-SUA
Dance Researcher: Ramon A. Obusan
Meaning: My Pomelo Tree
Dance Culture: Lowland Muslim (Coastal)
Place of Origin: Jolo, Sulu
Country of Influence: China, Malaysia and Indonesia
Ethno-linguistic Group: Tausug
Classification: Courtship Dance

Source: www.kalilayan.com
Background/Context: The Tausug of Sulu, Southern Philippines, though known as
fearsome warriors are also better known as sturdy seafarers and hardy farmers. Extensive
orchards are planted with coconuts and pomelos and fields with staples like rice and root
crops. At harvest time, pomelo fruits are gathered in big baskets before they are sent
away. The Tausugs depend strongly on the income the pomelo bring them and this
relationship is romanticized by comparing the sua’s gentle leaves, slender branches,
attractive fruits and fragrant flowers to the virtues of a lady. Put to music, it is this song
that is sung by couples while flapping two white fans each resembling leaves rustling in
the wind in the Sua-Ku-Sua Dance. Sua-ku-sua performers, some men but especially
women come to the festivities with face thickly covered with finely ground rice powder and
their eyebrows and sideburns enhanced with soot- all for beauty’s sake.
Movements/Steps Particular to Dance:
Creative imagery: Fans transform into tiny sails, face mirrors, butterflies,
shields and leaves. Tausug traditional steps with Chinese influence.
Dance Properties:
Costume:

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Female:
Top (Barawasi): Traditional loose blouse, long sleeves with deep, plunging key-hole
neckline. Extra panels attached to the right and left chest decorated with many tiny
brass buttons.
Material: Cheap printed or plain Chinese silk or cotton.
Pants (Sawal or Kantiu): Loose Chinese pants with a 10-inch soft white band
(coco curdo) attached to a wide waist. To tuck the pants in, the white band is
overlapped in front, one side on top of the other and rolled out to form a tight belt.
Material: Cheap Chinese silk or any silky material preferably in navy blue, sunshine
yellow, grass green, red or orange colors
Shoulder band (Siyag): A separate wrap-around malong of rich material
strung over the right shoulder crossing the chest and hanging on the left
side.
Headpiece:
There are three choices:
1. Gold or brass filigree called tusuk;
2. Paper bills passed on slender sticks; and
3. Pasteboard cut-out, the front tip 8 to 10 inches high, similar to Chinese crowns
covered with gold foil.
Accessories: Gold or imitation gold earrings, necklace, bracelets and brooches.
Suggested Footwear: Dancers are barefoot.
Male:
Top (Bajo): Short-waist collarless shirt. Open at the front with the right panel
overlapping the left, studded with many tiny brass buttons and is not intended
to close the front but used as an additional shirt decoration. It is allowed to drop on the
right side.
Material: cheap printed or plain Chinese silk or cotton.
Pants (Sawal or Kantiu): Similar to the female pants but in darker colors and bolder
designs.
Accessories: Money-belt, Sarok hat, pis siyabit (rectangular hand-woven scarf tied on
the head or hung loosely over one shoulder); Kris (wavy knife) or Barong (leaf-knife).
Suggested Footwear: dancers are in barefoot
Music: 2/4 and 4/4; composed of three parts: A, B and C. Gabbang- bamboo xylophone
shaped like a small boat. Bamboo slats thinned and cut to graduated sizes to produce
three octaves of pentatonic scale

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Count: 1, 2 to a measure in 2/4 time signature 1, 2, 3, 4 to a measure in 4/4/ time
signature

PANGALAY
Dance Researcher: Francisca Reyes-Aquino
Meaning: Finger nail
Dance Culture: Lowland Muslim (Coastal)
Place of Origin: Sulu
Country of Influence: Thailand, Malaysia, Burma, Cambodia and Indonesia
Ethno-linguistic Group: Tausug
Classification: Social Dance

http://images.search.yahoo.com/search/images;_ylt=A0PDoX5F909Qah8A0iSJzbk
F?p=pangalay%20dance&fr=yfp-t-521-s&ei=utf-8&n=30&x=wrt&fr2=sg-
gac&sado=1
Background/Context: Pangalay (also known as Daling-Daling or Mengalai in Sabah is
the traditional “fingernail” dance of the Tausūg people of the Sulu Archipelago and
Sabah.[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders, elbows, and
wrists[2] – movements that strongly resemble those of “kontaw silat,” a martial art
common in the Malay Archipelago. The Pangalay is performed mainly during weddings
or other festive events [1]. The male equivalent of the Pangalay is the Pangasik and
features more martial movements, while a pangalay that features both a male and female
dancer is called Pangiluk.

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The original concept of the Pangalay is based on the pre-Islamic Buddhist concept
of male and female celestial angels (Sanskrit: Vidhyadhari, Bahasa Sūg: Biddadari)
common as characters in other Southeast Asian dances.
Dance Properties:
Costume: Dancer wears a typical Joloana costume
Accessories: Expert and professional dancers use janggay, extended metal fingernails
in each finger. The rich people have janggay made of solid gold or silver.
Suggested Footwear: dancers are barefoot.
Music: Played as many times as necessary. Count one, two or one, and, two and to a
measure.
Movements/Steps Particular to Dance: There are no definite directions, sequence of
figures, number and kinds of steps, hand movements and positions used when
performed by the natives. For teaching purposes, the figures of this dance may be
created and dancers may form their own combinations.

TIKLOS
Dance Researcher: Francisca Reyes- Aquino
Meaning: Refers to a group of peasants
Place of Origin: Panay and Leyte
Country of Influence: China, Burma and Cambodia
Classification: Recreational Dance

www.folkdance.tk
Background/Context: For centuries, Tiklos has been a very important factor in the
social life of the peasants of Leyte. Tiklos refers to a group of peasants who agree to work
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for each other one day each week to clear the forest, prepare the soil for planting, or do
any odd job in the farm, including the building of a house. At noontime, the people
gather to eat their lunch together and to rest. During this period, Tiklos music is played
with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum).
The music of Tiklos is also played to gather the peasants before they start to work.
Dance Properties:
Costume : Dancers are dressed in working costumes.
Music : Divided into two parts. A and B.
Count : one, two or one, ah, two, ah or one, and, two to a measure.
Formation : Partners stand opposite each other about six feet apart.
When facing audience, the girl stands at partner’s right side.
One to any number of pairs may take part in this dance.

SAKUTING
Dance Researcher : Francisca Reyes Aquino
Meaning : Refers to rhythmic sticks producing the accompaniment for the dance.
Place of Origin : Abra and Ilocos Norte
Country of Influence: China
Classification : Recreational and Social Dance

Background/Context: This is a dance of the ethnic people living in the western

side of the Cordilleras way back before the coming of the Americans to our country.
During the Christmas, young boys and girls accompanied by their elders would go
to the lowlands, especially in Abra and Ilocos Norte to dance in front of the houses and
ask for gifts. These young children hold sticks, one on each hand and strike them
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together to make their dance more lively. The homes would give them money,
homemade delicacies and other things. These dancing groups later reached as far
as the coastal towns of Ilocos region as years went by. The rhythmic sounds produced
by the stick attracted other children and also adults and they also learned the dance.
“Sakuting “is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance.
Dance Properties:
Costume : Girl – Native Ilocano kimono style with sleeves of elbow length;
skirt of bright-colored plaids shirred at the waist of ankle-length.
Boy – Camisa de chino and red trousers, and a native hat.
Music : 2/4 and ¾ rhythms and composed of 9 parts : A, B, C, D, E, F, G, H
and
I.
Formation : Audience
X O
O X
X O
O X
One set of dancers

A. Written Check-up:

Below are jumbled letters which when arranged correspond to regional

and national dances. Can you identify each? On a page in your activity notebook
put numbers from 1 to 5. Write each formed word on the space provided before
each number and try to share your knowledge about it.
_______________1. GANAPYAL
_______________2. LABISNIKAN
_______________3. ASU UK ASU
_______________4. SIOTLK
_______________5. GIKNATUS

B. In your activity notebook or sheet, copy the table as shown and fill
it in with information called for.

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 Name of Literal Place of Dance Influenced by
Dance Meaning of Origin Classification what Asian
the Name of Country?
the Dance
Sua-Ku-Sua Social Dance China,
Malaysia,
Indonesia
With the use Lingayen,
of sticks Pangasinan
Sakuting Abra Social Dance
Tiklos A group of Leyte Recreational/S
peasants ocial
Dance
Pangalay Wedding Malaysia,
Dance Indonesia,
Malaysia,
Thailand,
Burma and
Cambodia

RUBRIC
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE IN
FOLK DANCE

Weight Choreography and Execution and Characterization

Artistic Mastery of Steps and Behavior
Presentation 40% 30% During
Performance 30%
5 OUTSTANDING: SKILLFUL: SOPHISTICATED:
Performs steps Demonstrates Demonstrates
with high level of precise and sophisticated
mastery while skillful execution characterization
creating several of the steps with and appropriate
formations in the high level of behavior towards
dance floor confidence the dance and
groupmates
4 DYNAMIC: COMPETENT: EXPRESSIVE:
Performs steps Demonstrates the Demonstrates an
with mastery steps competently atypical level of
while creating and with characterization
sufficient confidence and appropriate
formations in the behavior towards
dance floor the dance and
groupmates
3 CREATIVE: PRACTITIONER: REALISTIC:
Performs steps Demonstrates Demonstrates
with mastery but general level of generally
with limited yet coordination and acceptable
growing ability to competence in the characterization
execute them execution of steps and proper
while creating with limited but behavior towards

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 formations in the growing the dance and
dance floor confidence groupmates
2 FAIR: Performs APPRENTICE: IMPROVING:
steps with general Demonstrates Displays
mastery but could limited inconsistent
hardly adapt to coordination and characterization
varying competence in the and demonstrates
formations in the execution of steps generally
dance floor with low level of acceptable
confidence behavior towards
the dance and
groupmates
1 STATIC: Performs NOVICE: Has very MECHANICAL: Has
steps with low or low or no little or no
no mastery and is coordination in characterization
not capable of demonstrating and behaves
creating steps; has very inappropriately
formations in the low level or no towards the dance
dance floor confidence at all and groupmates

1. In life, we always aim to be successful. One way to attain our goals is for us to
stay focused just like the focus that is needed while learning the steps in dancing.
We need to put our heart and mind into the things we do to in order to gain mastery.
Through dancing, we may be able to develop health fitness, such as having
cardio-vascular endurance, flexibility and strength which are key factors in
achieving success.
2. Binislakan, Tiklos, Sakuting, Sua-Ku-Sua and Pangalay reflect the kind of life
people have on those places of the Philippines.

1. How Regional and National Dances of the Philippines are influenced by other cultures
of Asians?
2. If you are going to choose one dance of Regional and National Dances of the
Philippines, what would it be? Why?
3. What are the uses of Regional and National Dances with Asian influences?

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 Read the questions carefully. Choose and write the WORD of the correct answer.
Write your answer in your MAPEH notebook.
1.What dance, which means with the use of sticks?

A. binislakan b. Sua-Ku-sua c. Tiklos d. Pangalay

2. It is the place of Pangasinan which means, having to look backward and upward.
It was derived from “Li-King-Tung”, a Chinese word. what is this?
a. Pangalay b. Binislakan c.Sakuting d.Tiklos
3. Which among these dances is the classification of Courtship Dance?
a. Tiklos b.Sakuting c.Sua-Ku-sua d.Pangalay
4. Pangalay is the dance which means?
a.Courtship b.Refers to a group of Peasants c.Finger nail
d. Refers to rhythmic sticks producing the accompaniment for the dance
5.This dance is called The Pomelo Tree, what is this?
a. Sua-ku-sua b. Tiklos c. Pangalay d. Binislakan
6. What is the time signature of the dance Sakuting?
a. 2/4 time b. ¾ time c. 4/4 time
7. Below are the countries that has influence in the dance “Tiklos” except __________?
a. Thailand b. China c. Burma
8. She is the dance researcher of the dance “Pangalay” and considered the National
artist of dance in the Philippine? Who is she?
a. Gabriela Silang b. Corazon Aquino c. Francisca Reyes Aquino
9. The barrio folks who lived at Almazin, a small place between barrio Pangasinan
(Pulong) and Maniboc dances “Binislakan” to ______________
a. praise and worship their god
b. say thank you for good harvest
c. to commemorate the stay of Limahong
10. The following are the times when they play the music of “Tiklos” except ____________.
a. every Sunday mass
b. after lunch time (siesta)
c. to gather peasants before work

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References:
BOOKS:
∙ Hiyas Philippine Folk Dance Company: Barrio Fiesta Suite
∙ Filipino Songs Atbp.: Philippine Folk Dance History
∙ Campers Point: Philippine Dance
∙ Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
∙ Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
∙ Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
∙ Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
∙ Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
∙ MAPEH for a Better You by Jocelyn V. Bautista, Ma. Rosario C.
Franco, Josefino N. Carlos, Danilo S. Duyan, Emilio S. Jacinto, Jr.
Rosanna A Diana, Alvenia P. Palu-ay, Hazel P. Copiaco and Gloria M.
Gacoscosim.
∙ MAPEH II by Vilma V. Perez, Lilian N. Luna and Crisanto E. Tomas
∙ A Classical Collection of Philippine Golk Dances, Series 4,
∙ Ramon Obusan for the Sua-Ku-Sua Dance Literature
∙ Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol.
1,2 and 4.
∙ 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
∙ The History of Filipino Folk Dance |
How.com http://www.ehow.com/about_6558571_history-filipino-folk-
dance.html#ixzz27RKkEfja November 28, 2012
∙ The History of Filipino Folk Dance |
eHow.com http://www.ehow.com/about_6558571_history-filipino-folk-
dance.html#ixzz27RK6wqx1 November 28, 2012
∙ The History of Filipino Folk Dance |
eHow.com http://www.ehow.com/about_6558571_history-filipino-folk-
dance.html#ixzz27RKzSk8d November 28, 2012
∙ http://wiki.answers.com/Q/What_is_sua_sua_folk_dance#ixzz27Xedp
W18 November 28, 2012
∙ http://www.bangkokcompanies.com/Dance/philipinnesdance1.jpg
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∙ .bp.blogspot.com/_LgNn7UyFJLc/SvPQXKIpG4I/AAAAAAAAB3A/djYN
O26rbPk/s400/leyte+dance+Theatre.jpg November 28, 2012
∙ http://1.bp.blogspot.com/-
tcDLOUN0BlI/TbYivw6NsAI/AAAAAAAAACE/MFbsNavnvNo/s1600/sin
gkil.jpg November 28, 2012
∙ http://home.allgameshome.com/results.php?s=philippine+folk+dance&c
ategory=images&start=1 November 28, 2012
∙ http://www.youtube.com/watch?v=8QApCK1lTrU November 28, 2012
∙ www.kalilayan.com November 28, 2012
∙ http://images.search.yahoo.com/search/images;_ylt=A0PDoX5F909Qa
h8A0iSJzbkF?p=pangalay%20dance&fr=yfp-t-521-s&ei=utf-
8&n=30&x=wrt&fr2=sg-gac&sado=1 November 28, 2012
∙ asukacaramel.deviantart.com November 28, 2012
∙ www.pinoyexchange.com November 28, 2012
∙ http://www.flickr.com/photos/14280206@N03/ November 28, 2012
∙ www.fiestafilipina.org November 28, 2012
∙ www.panoramio.com November 28, 2012
∙ www.playle.com November 28, 2012
∙ archives.pia.gov.ph November 28, 2012
∙ Pangalaydance.com/the-pangalay-dance-style-of-the-philippine-an-
intangible-cultural-heritage November 28, 2012

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