Barriers in Understanding Folk Dance Terminologies: The Level of Difficulty

Experienced by BPEd Students in Ramon Magsaysay Memorial Colleges

A Research
Presented to the faculty of the Teacher Education Program
RAMON MAGSAYSAY MEMORIAL COLLEGES
General Santos City

In Fulfillment of the Requirements in Thesis 1

Bachelor of Secondary Education
Major in Physical Education

Merry Dawn B. Naraga

2024

Chapter 1
 INTRODUCTION

The Problem and its Setting

Folk dance is one of the core dances that emphasizes giving identity to a

nation’s culture and its people. It is also essential in preserving the cultural heritage

of the country (Kicken, 2021). Every nation around the world has distinct cultures

that serve as a basis for the creation of famous folk dances and this has birthed a

variety of terminologies that came from the mother tongues of the cultures involved.

In a national setting, history proved that people of the early culture of the Philippines

performed dances in forms of worship, a communication with the unseen powers by

which they lived. They performed various dances full of images of their immediate

world (Tulio, 2017). Almost all occasions in the life of the early Filipinos were

celebrated by dancing. In the modern times, folk dance in the Philippines revolves

around tribal dances to stylish folk dances. However, studies indicate that there are

only a few who study the problems of learning folk dances (Buedron, 2017). In this

study, it focuses on the problems arising involving the difficulty in terminologies of

various folk dances. Locally, these problems have been prevalent in General Santos

City, as there is a wide-array of arena that focuses on folk dances.

Ramon Magsaysay Memorial Colleges is a renowned school situated in

General Santos City. It promotes almost all forms of educational paths, and one of

the most prevalent courses offered is Bachelor of Physical Education (BPEd). This

specific arena tackles a wide-array of dances in their syllabus; among those is

learning ways of folk dance. These students have faced difficulties in understanding

the terminologies while on the course of studying folk dances. Folk dance, as an
integral component of the physical education curriculum, demands a nuanced

understanding of its cultural and movement-specific terminology (Georgios, 2018).

This research recognizes the difficulties in understanding the terminologies

used in folk dances. It also aims to unfold the students' proficiency in navigating and

grasping these terms, forming a comprehensive overview of the challenges within

this study. This research can actually highlight new approaches in understanding the

terminologies which can be used by the students and even the instructors.

In the Philippines, folk dances are frequently included in student presentations

during the month-long duration of Pambansang Buwan ng Wika which is the

celebration of the national language of the Filipino nation, the Philippines. The

terminology from the various folk dances is derived from the culture of each dance.

These terminologies, if perceived and understood correctly, provide an easier

passage in learning the various folk dances. However, the complexity of the words

and terminology bars the students in learning the course swiftly (Javina, 2017).

This research addresses the specific issues faced by 3rd-year BPED

students, aiming to identify the areas of difficulty encountered in the process of

comprehending the diverse and culturally significant terms associated with

folkdance. By pinpointing these challenges, the study seeks to contribute valuable

insights that can inform targeted pedagogical strategies, ultimately enhancing the

educational experience for students.

The significance of this research extends beyond the confines of academic

exploration, reaching into broader implications for cultural competence and linguistic

proficiency within physical education programs. Understanding the difficulties

students encounter in comprehending folk dance terminology is instrumental in

refining teaching methodologies. This research bridges the gap between theoretical

understanding and practical application, fostering a more holistic approach to

folkdance education. Emphasizing the importance of cultural awareness in the

training of future physical education professionals, the study positions itself as a

crucial contribution to the enhancement of the overall educational landscape.

Furthermore, this research finds its foundation within the legal framework and

objectives of Ramon Magsaysay Memorial Colleges' institutional curriculum. It aligns

with and supports the educational goals stipulated in relevant policies and

regulations, ensuring that the exploration of folk dance terminology adheres to

institutional guidelines. The primary objectives of this study are to systematically

identify the challenges faced by 3rd-year BPED students in understanding folk dance

terminology, to analyze the importance of addressing these challenges for enhanced

pedagogical practices, and to provide recommendations based on the findings. By

delineating these objectives, the research aims to contribute practical insights that

can inform future teaching strategies within Ramon Magsaysay Memorial Colleges.

Research Objectives

The study endeavors to determine the level of difficulty in understanding folk

dance terminology among 3rd year BPED students in Ramon Magsaysay Memorial

Colleges, A.Y. 2021-2022.

1. To determine the level of difficulty experienced by students in understanding

folk dance terminology.

2. To propose new approaches in learning the terminologies of folk dance in

terms of discussing the challenges faced in understanding the terminologies.

Review of Related Literature

Within the rich cultural landscape of the Philippines, folk dances serve as

expressive tales woven by Filipinos to depict narratives about their nation. These

narratives find resonance in both live performances and written expressions.

Philippine folk dances are considered as old as history, these are stories of the past

that are translated into movements that are often misunderstood in today’s society.

In the transmission of traditions, customs, and essential heritage across

generations, folk dance stands as the lifeblood of cultural celebrations. According to

Zhang (2020), folk dance emerges as a dance form rooted in the experiences of

people, serving as an artistic expression of lifestyles passed down by diverse

nationalities over millennia. Variations in regions, living habits, customs, religious

beliefs, and physical characteristics contribute to the diversity of folk dances derived

from different ethnic groups. Primarily ceremonial, traditional folk dances hold

specific symbolic meanings, emphasizing narrative elements and the continuity of

cultural inheritance. As history evolves, ethnic events imprint their traces on dance

forms, fostering integration and perpetuation. For ancient communities, dance

served as a form of worship and communication with unseen powers governing their

existence. Their dances vividly portrayed aspects of their immediate environment,

reflecting the wind, rain, seasons, wildlife, and significant life events such as birth,

death, courtship, hunting, and harvesting. Dance embodied the cycles of life, rituals

for success in battle, and expressions of joy or grief in victory or defeat. According to

Zhang, nearly all significant events in primitive societies were commemorated

through dance. Dance steps, as outlined by Buedron (2018), originated from

fundamental human movements like walking, running, jumping, hopping, skipping,

sliding, leaping, turning, and moving away. Consequently, folk dance serves as a
genuine interpretation and artistic representation of the people's production and life

during specific periods. As a result, many folk dances are predominantly presented

collectively, marked by arbitrary and adaptable movements. The development of folk

dance has evolved into an instinctive and artistic expression, becoming an integral

art form for numerous cultures. Indeed, Folk dance has become an integral aspect of

Filipino identity, offering a means for Filipinos to express and communicate their

ideas and way of life through creative movements synchronized with music. The

essence of folk dance is characterized by graceful choreography, vibrant props and

costumes, and a combination of slow and fast movements that captivate audiences.

Roper underscores that popular folk dances undergo evolution and change as they

are handed down from one generation to another, each dance sequence narrating

stories of the culture's richness. Across various communities, whether ethnic or local,

folk dances serve as poignant expressions of cultural sentimentality and cultural

wealth. Although some regional variations may exist in the performance of these

dances, they consistently remain true to their cultural roots (Pineda et al., 2018).

In the Philippines, the proper education and documentation of traditional folk

dance commenced in the late 1920s through the efforts of Francisca Reyes Aquino,

formerly known as Francisca Reyes Tolentino prior to her second marriage. Ramon

P. Santos, an authority on Filipino folk dance, highlights that the concept of fixing and

standardizing dance forms, particularly through notation, is rooted in Western

influences. Aquino's initiative to collect folk dances during the 1920s was driven by

the recognition that the further impact of Western culture could lead to the loss or

extensive modification of indigenous dances. Aquino's approach to notating and

documenting traditional and folk dances became the predominant method adopted

by most Filipino folk dance researchers. Her influence extended beyond mere
documentation, shaping the trajectory of folk dance through her investigative

methods, collection practices, and inscription techniques. Her recordings included

comprehensive details such as the title, dance culture, place of origin, ethnolinguistic

group and classification, costumes and props, music, musical instruments used, as

well as instructions for the dance encompassing figures, steps, movements, counts,

and the number of measures. Aquino made subjective decisions regarding the

definition of folk dance, the permissible degree of alteration, and the reasons for

modifications, integrating her choreographic work into the evolving canon of Filipino

folk dance.

While Aquino's verbal and directional system has predominantly governed the

use of movement, more sophisticated notation systems like Labanotation and the

Benesh system have encountered limited acceptance among dance practitioners

due to a scarcity of tutors and a passive reception from dance teachers. Two

organizations, the Philippine Folk Dance Society and the Francisca Reyes Aquino

Memorial Foundation, actively work to preserve dance traditions. However, a

contemporary challenge arises as the diffusion of knowledge is perceived as

intermediate and deficient, with students and learners grappling with the notion that

these dances are often presented as difficult to comprehend in today's society.

With this, despite the beauty of these dance practices, the industry itself has

been neglected by the general public and the academe. The inaccessibility of proper

information, preservation, and the lack of attention given to folk dance industry

provided an agency for mass incomprehension of general terminologies and

literature. A study by Lobo (2022) examined tertiary students' attitudes towards folk

dancing, and a notable trend emerged: while there exists an interest in this traditional
form of dance, the actual experience level among students is moderate. This pattern

extends to pre-service teachers at Palawan State University - Bataraza Campus

(PSU-B), individuals who were formerly students of the researcher. The hindrances

to active participation in folk dancing include various factors such as the disruptions

caused by the pandemic and the constraints on class hours allocated for physical

education courses. Moreover, particularly noteworthy is the period of online learning

endured by these students for about two years starting in 2020, which significantly

curtailed face-to-face activities. It can be concluded that the pause of life that was

brought by the pandemic can be considered as one of the factors of the slow death

of folk dance in the Philippines.

This paper is strongly influenced by Article 14, Section 18 of the 1987

Philippine Constitution entitled Education, Science, and Technology, Arts, Culture

and Sports, which states that: “(1) The State shall ensure equal access to cultural

opportunities through the educational system, public or private cultural entities,

scholarships, grants, and other public venues, (2) The state shall encourage and

support researches and studies on the arts and culture.” Moreover, R.A. 10533

contemplates that contextualization is given emphasis and that the curriculum shall

be flexible enough as to its respective educational and social context.

In the evolving landscape of dance education, whether it is an online or in

face to face setting, a shift in the paradigm is evident, transitioning from a

weight-focused paradigm to a more qualitatively oriented approach. However, a

paradox surfaces in this educational evolution: there is an abundance of educational

resources dedicated to folk dance, yet there is a noticeable deficit in teaching literacy

on this subject within colleges and universities. Integrating these valuable

educational resources into the domain of folk dance teaching encounters challenges.

The longstanding prevalence of exam-oriented education has led to a lack of

emphasis on folk dance within educational institutions, resulting in insufficient

investments in teaching resources and a neglect of curriculum development and

utilization. This predicament is reflected in the formidable task of resource

development and a low success rate for curriculum resources. Additionally, there is a

tendency in education to overlook the potential synergies between different

disciplines. The failure to meet students' knowledge needs across various facets and

channels contributes to a restricted field of vision and a singular knowledge

structure. The infusion of artistic elements from folk dance into college and

university-level dance education presents an opportunity to rekindle interest,

highlighting the richness and diversity inherent in teaching. This approach has the

potential to boost students' enthusiasm for learning and broaden their humanistic

vision. There is a need to study dance terminologies of particular traditions, there is

also a need to compile comparative data across traditions. This comparative

approach can only deepen our collective understanding of Philippine dance traditions

in terms of embedded meanings and nuanced expressions. Perhaps, this step

towards comparison can even help answer the very basic question of what in dance

makes a Filipino, “Filipino.”

In regards to legacy and consistency, folk dance, often perceived as resistant

to change, is now seen as vulnerable in the face of ongoing development.

Regrettably, a diverse array of dance styles originating from other nations has

proliferated in the Philippines, gaining popularity across various age groups and

generations. These internationally renowned dances have found considerable

traction on social media platforms and stage performances. Unfortunately, due to the

influence of modernization, there is a discernible trend where students tend to

gravitate towards learning foreign dance styles more readily, leading to a waning

interest in traditional folk dance (Buedron, 2018).

Consequently, students exhibit a greater interest in observing and

participating in popular dances as opposed to traditional ones. The surge in the

popularity of contemporary culture, notably in the form of hip-hop, has contributed to

a diminishing regard for and potential jeopardy to the Philippines' rich cultural

heritage and long standing customs, particularly among the younger generation

(Reyes et al., 2020). Students are likely to highly value Philippine Folk Dance due to

the numerous benefits it offers to their bodies, health, and overall lives. Additionally,

its significance in shaping their cultural identities contributes to their strong interest in

the subject. Philippine Folk Dance serves as a reflection of students' identities,

drawing from the experiences of Filipino ancestors and guiding their responses to

contemporary circumstances (Lobo, 2022).

Mendoza affirmed that students often struggle with limited ability to perform

folk dances. In his study, it was observed that while studying Philippine folk dance

was a common practice among students, many faced challenges in interpreting and

executing the dance itself, particularly folk dance. The difficulty stemmed from the

intricate nature of dance pattern movements, time signatures, descriptions, and

proper counting, making them challenging to memorize. Although students were

familiar with dance patterns and basic steps, teachers assessed their ability to learn

folk dancing as relatively low. This evaluation was influenced by the complexities

teachers encountered in conveying the functionality and practicality of folk dance in

modern-day performances. Physical Education teachers, responsible for teaching

dance as an art form within the realm of human kinetics, faced challenges in

maintaining the cultural and traditional importance of folk dance. The strong

influence of modern culture, especially modern pop and hip-hop dances, diverted the

attention and interest of P.E. teachers, occasionally compromising the preservation

of cultural heritage (Atienza, 2019).

Despite these challenges, The Philippine Folk Dance Society perseveres in

developing and implementing initiatives to educate dance educators on the culture

and traditions inherent in Philippine dances. Through their annual workshops, they

impart new research findings on dances and revisit previously studied dance forms.

National initiatives, such as Sayaw Pinoy and National Day of Dance organized by

the National Commission on Culture and the Arts, play a crucial role in bringing the

country's top dance groups to various regions, enabling them to showcase their

expertise and educate the public on these traditional dances (Hofilena, 2019).

Gonzalez introduces the notion that folk dance requires active identification and

preservation, as neglect could lead to its gradual disappearance. In honor of the

Philippine heritage and identity, Section 14, Article XIV of the 1987 Constitution

states that “The State shall foster the preservation, enrichment and dynamic

evolution of a Filipino national culture.” Section 15 mandates the state to conserve,

promote, and popularize the nation's “historical and cultural heritage and resources

as well as artistic creations.” Also in the same Article, Section 17 mandates the state

to recognize, respect, and protect the rights of indigenous cultural communities to

preserve and develop their cultural traditions and institutions.” Employing dance

research becomes instrumental in illustrating the merits of a comprehensive dance

curriculum in meeting educational requirements. Areas such as problem-solving

skills, self-concept, and holistic learning approaches can be integrated into the

research agenda on dance. The outcomes of such research endeavors have the

potential to substantiate the argument for incorporating dance, alongside other arts

disciplines, into educational frameworks (Santos, 1998). Dance, often seen as the

pinnacle of artistic expression, doesn't get much attention in research, as mentioned

by Domingo (2018). The main reason is the shortage of resources like dance

literature and a lack of people passionate about researching and documenting

dance. Domingo highlights the importance of keeping good records of the role of

dance in art and culture. This documentation can help scholars develop theories and

criticisms to establish dance's place in academic discussions.

Moreover, Domingo emphasizes that using dance notation is crucial for

preserving dances and passing them down to future generations. This means we

can keep different dance styles alive and protect their cultural and artistic

significance. This underscores the importance of thoroughly documenting, teaching,

and researching dance to ensure it continues to be appreciated in academic and

cultural contexts. Also to be understood better, and to be passed on with passion

and preciseness as it is a fundamental objective of tertiary education to cultivate

prospective educators as custodians of the intangible cultural heritage of the

Philippines, particularly in the domain of folk dances.

Consequently, a crucial undertaking involves assessing the individual

inclinations of students towards traditional Philippine dances, alongside their level of

involvement in academic pursuits. This ensures the effective transmission of

knowledge, enabling these future educators to fulfill their responsibility in fortifying

the national identity of the country. Moreover, there was a study conducted at the
City College of Los Angeles that aimed to explore the relationship between students

enrolled in Bachelor of Physical Education (BPEd) and Bachelor of Physical

Education, major in Arts (BPeA), specifically in their involvement with Philippine

traditional dances. The findings indicated that most respondents had a moderate

level of experience in these traditional dances. Interestingly, a significant number of

students expressed a strong interest in delving deeper into folk dance, covering

various aspects like dance steps, music, costume, and dance history. The research

highlighted a noteworthy connection between students' personal experience levels

and their enthusiasm for Philippine traditional dances. Consequently, the study

proposes the development of dance programs and activities to enhance students'

appreciation for the culture and arts of the Philippines, aligning with the college's

core value of patrimony. However, it's important to recognize the study's limitations,

focusing solely on BPEd and BPeA students, prompting the researcher to

recommend a broader inclusion of respondents from other programs for a more

comprehensive perspective (Lobo, 2022).

Zooming out to the broader context of teaching folk dance in higher education,

the emphasis extends beyond basic skills and knowledge. It serves as a conduit for

inheriting and propagating folk culture, necessitating the enhancement of teaching

methods and introducing innovative approaches. Instructors are encouraged to

diversify their teaching strategies, combining internal and external methods while

integrating performance, learning, and research. This comprehensive approach not

only enriches the cultural understanding of folk dance but also nurtures students'

ability to imitate and fosters a keen sense of rhythm through imitation training.

Additionally, the incorporation of folk artists into the learning environment is

suggested to broaden students' perspectives and deepen their grasp of traditional

cultural concepts (Lu, 2022).

Examining the role of folk dance in Philippine education underscores a crucial

aspect of cultural preservation. In this context, it is noteworthy that the majority of

indigenous communities have successfully maintained their traditional practices,

shielded from the pervasive influence of contemporary civilization. However, this

resilience is not universal, and a lamentable pattern has emerged where only the

elderly within these communities possess the recollection of their tribe's traditional

songs, while the younger generation encounters challenges in conversing fluently in

their native dialect.

This dichotomy raises concerns among researchers who recognize the

tangible risk of irreversible loss for numerous ancient Filipino cultures. The imminent

threat to the continuity of these cultural heritages has instilled a sense of urgency in

academic endeavors. In response to this pressing need, the preservation of tribal

music has emerged as a paramount commitment within the broader initiatives led by

Bayanihan to rejuvenate and safeguard Filipino cultural heritage, as documented by

Santos (2004). The urgency stems from a shared recognition that without concerted

efforts, the rich tapestry of these cultural expressions faces potential extinction,

underscoring the importance of addressing these challenges promptly and

comprehensively within the realm of education and cultural preservation.

Conceptual Framework of the Study

The conceptual framework encapsulates the core processes of this research.

Initially, it delves into the students' difficulty levels in comprehending folk dance

terminology, with dependence on the second variable—challenges encountered by

the students. Subsequently, this line of inquiry will be supplemented by forthcoming

solutions.

Figure 1. Conceptual framework of the study

Significance of the Study

This study entitled, “Barriers in Understanding Folk Dance Terminologies: The

Level of Difficulty Experienced by BPEd Students in Ramon Magsaysay Memorial

Colleges” plays a vital role in the field of reviving traditional dances and the

importance of preserving ethnic heritage in fully understanding the jargons they

encounter while learning folk dances and this study may also offer benefits to the

following:

Bachelor of Physical Education Students. This study will help the students

of Physical Education understand their major in a closer sense and somehow

improve how they perceive their competitiveness, abilities, experience, and interest
in Philippine Folk Dance, which can also be applied to future job opportunities as

dance instructors or coaches in folk dance.

School Administrator and Instructors. The result of this study would open

new approaches in learning and teaching the field of folk dances through the

determination of the challenges faced and the level of difficulty in understanding the

terminologies. This study would somehow prompt new learning techniques to

instructors and students.

Folkdance Community. This study would spearhead new and efficient ways

in reversing the tediousness of learning folk dances as the underlying factors as to

why it is difficult to learn this particular dance all throughout the years come into light.

This study would be efficient in safeguarding the tradition of folk dances as well as

imparting the full understanding of the terminologies to other folk dance

communities.

Other Researchers. The results of this study may be used as reference data

in conducting new research regarding the challenges faced in learning folk dance or

any in this field, also in testing the validity of other related findings. This study will

also serve as their cross-reference that will give them a background or overview

showing the level of competency in folk dance.

Scope and Delimitation of the Study

This study entitled, “Barriers in Understanding Folk Dance Terminologies:

The Level of Difficulty Experienced by BPEd Students in Ramon Magsaysay

Memorial Colleges” aims to highlight on determining the level of difficulty of 3rd Year

BPEd students in understanding the terminologies used in folk dance and how this

affects their difficulty in learning the traditional dances. This study is limited to the 3rd
year Bachelor of Physical Education students of Ramon Magsaysay Memorial

Colleges and analyzes the level of difficulty they experienced in learning the

terminologies of the said dance. This study specifically does not include any

comparative analysis with another type of dances considering the cultural

appropriation of the dances involved. In clarifying the scope and delimitations, this

research aims to provide insights in reversing the difficulties faced by the

respondents in understanding the different terminologies used in folk dances.

Definition of Terms

Folk Dance Terminology. The term folk dance terminology encompasses a

variety of terms that describe different elements and aspects of traditional or cultural

dances. Operationally, it involves terms or commands that vary across different folk

dance traditions, as they often reflect the unique characteristics of each dance form.

Conceptually, folk dance terminologies are those words or commands encountered

by respondents that are sometimes rooted to each culture and uses vernacular

jargons only can be understood with intense memory and understanding of each

term.

Level of Difficulty. It refers to the assessment or evaluation conducted to

students who engage with learning folk dances regarding their difficulties in

understanding the different folk dance terminologies that are requisites in passing

their curriculum. Operationally, it involves measuring the student’s difficulty in

understanding the terminologies of folk dances through surveys and interviews to

assess how it affects their learnings obtained from that specific arena. Conceptually,

the student’s level of difficulty in understanding the terminology of folk dances shows
the different challenges in accessing quality education that can be accessed if

learners actually learn what they study.

Challenges. It refers to the factors affecting the learnings obtained by the

students in terms of understanding the folk dances terminologies and how it creates

a barrier into a quality education. Operationally, it involves daily problems

encountered by the students in the course of learning this specific topic.

Conceptually, these challenges encompass a variety of factors such as difficulty in

grasping the command or terms during performances and bars them from efficient

learning to do so.
 Chapter 2

METHODOLOGY

This chapter focuses on the discussion of the research design, the research

locale, the population and sample, the research instruments, the data collection,

statistical tools, and ethical considerations.

Research Design

This study will adopt a descriptive methodology employing a quantitative

research design. A survey questionnaire will be systematically distributed among a

randomly selected sample of 3rd-year students. The survey aims to evaluate the

students' level of difficulty experienced in understanding folk dance terminologies. To

ensure a thorough and precise examination, the questionnaire will consist of

close-ended questions that cater directly to the research objectives, facilitating the

collection of comprehensive data.

Locale of the Study

This research will be conducted at Ramon Magsaysay Memorial Colleges

(RMMC), a privately owned and non-sectarian higher education institution located in

General Santos City and Koronadal City. Serving the SOCCSKSARGEN region,

nearby provinces, and the entirety of Mindanao, RMMC has been a stalwart

contributor to community education. It holds the distinction of being the first and only

institution in Region XII with programs accredited by the Philippine Association of

Colleges and Universities (PACUCOA). Renowned for offering a diverse array of

courses and specializations, RMMC has consistently produced high-achieving

students, particularly in its Education Department, recognized for delivering quality

education.
 The selection of Ramon Magsaysay Memorial Colleges as the study location

is intentional, focusing on clarifying and scrutinizing obstacles that hinder students

from grasping terminologies related to folk dances. This research seeks to uncover

the difficulties students encounter in understanding these Philippine folk dance

terms, bringing attention to potential challenges, and laying the groundwork for

well-informed solutions.

Selection of Respondents

In this study, the researcher will focus on a sample of 3rd year students

pursuing a Bachelor of Physical Education (BPED) at Ramon Magsaysay Memorial

Colleges during the academic year 2022-2023. The researcher will employ a random

sampling technique to identify and randomly select participants. This strategic

sampling approach aims to ensure a representative and statistically meaningful

subset, allowing for a precise examination of students’ level of difficulty in

understanding folk dance terminologies.

Research Instrument

The primary instrument that would be used to gather the needed data will be a

researcher-made questionnaire by the researcher that will be checked thoroughly by

his adviser to ensure precision. The instrument also incorporated a set of structured

questions that will be answered by the respondents. This questionnaire will be

validated by experts since it is a researcher-made instrument. Revision will be done

right after the validation. The questions that will be formulated will determine the

level of difficulty in understanding folk dance terminology among the respondents.

 The Likert Scale of one to five was carried out in this study. Below are the

scale’s description in Table 1.

Table 1. Likert Scale for the Level of Difficulty in Understanding Folk Ance

Terminology

SCALE RANGE RESPONSE DESCRIPTION

5 4.21-5.00 Always It means that the difficulty level of

understanding folk dance
terminologies is high and
prevalent.

4 3.41-4.20 Often It means that the difficulty level of

understanding folk dance
terminologies is relatively high but
not as prevalent.

3 2.61-3.40 Sometimes It means that the difficulty level of

understanding folk dance
terminologies is present but not
alarming.

2 1.81-2.60 Seldom It means that the difficulty level of

understanding folk dance
terminologies is present but
seldomly faced by the students.

1 1.00-1.80 Never It means that the difficulty level of

understanding folk dance
terminologies is not present at all.
Data Gathering Procedure

The following steps will be conducted by the researcher.

The researcher will initiate several key steps for the successful execution of

the study. Firstly, the researcher will formally seek permission to conduct the study

by submitting a letter for approval from the Dean. This letter will outline the study's

purpose and request consent from the respondents. Once approval is obtained, the

next phase involves the distribution and collection of survey questionnaires.

Subsequently, the researcher will promptly retrieve the completed questionnaires

and proceed to tally the responses. The collected data will be organized and

tabulated for further analysis. To ensure accuracy in the interpretation of results, the

researcher will engage a statistician to verify the precision of data analyses. This

meticulous process guarantees a strong and reliable foundation for drawing

conclusions from the research findings.

Statistical Tool

The data gathered will be using the Weighted Mean Formula in order to

determine the level of difficulty in understanding folk dance terminology among 3rd

BPED students of Ramon Magsaysay Memorial Colleges during the academic year

2021-2022.

Hence,
∑𝑓𝑥
𝑋= ∑𝑓

Where:

𝑋= is the mean

f = is the number of occurrences

 ∑ = is the sum of products of f x

∑f=is the total number of the occurrences

Ethical Consideration

Ethical principles play a crucial role in the research process, particularly when

involving individuals, communities, relevant documents, animals, and similar

subjects. This study is committed to adhering strictly to ethical considerations to

ensure the accuracy of participants' perspectives on the studied phenomenon,

maintain the integrity of the research, and, most importantly, safeguard participants

from potential harm by anonymizing their personal information using generic names

like John Doe. Additionally, the proponent will seek participants' approval through a

consent form, outlining their rights, privileges, roles in the research, and the

confidentiality of their responses. Here are some key ethical considerations in

research studies:

A. Voluntary Participation.

B. Privacy and Confidentiality.

C. Plagiarism.

D. Permission from Organization/Location.

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