PHYSICAL EDUCATION II – MODULE 1
Page 1
Unit 1
RHYTHMIC ACTIVITIES
This unit is prepared for students to gain knowledge on the importance of rhythmic activities,
the role it plays in the development of nationalism, and the preservation of our cultural heritage.
It will help the students to improve self-expression through dance interpretation, creating and
performing simple movements.
OBJECTIVES
At the end of this unit, the students are expected to:
1. Learn and understand the terms used in this subject;
2. Discuss and explain the meaning of dance/rhythmic movements and fundamental dance steps;
and
4. show interest and appreciation in the class activities.
DEFINATION
For better understanding of the discussions the follow, the following terms are hereunder
defined:
Rhythm - is a measured motion or flow, characterized basically by
Rhythms - denote as aspect of quality of movement, which is sometimes as a dance. Structured
forms, which start creative rhythmic movements, are sometimes are called rhythm.
Dancing – is a means of expressing one’s emotions through movements disciplined by rhythm.
It is an act of moving rhythmically and expressively to an accompaniment. The word dancing
originated from the German word “damson” which means to stretch. All dancing is basically
made up of stretching and relaxing movements.
Dance – is a series of movements set to music where the emerge organization, structure, and
pattern.
SCOPE OF RHYTHMIC ACTIVITIES
RHYTHMIC ACTIVITIES
Is the response of a person displaying his emotional and mental reaction to rhythm. In all
nature, every individual makes rhythm like foot tapping, head movement, body sway while a
music is playing. In other words, the body moves as a physical response or as an expression of
feeling and the fundamentals principles of time, space, and force are observe.
PHYSICAL EDUCATION II – MODULE 1
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FUNDAMENTALS OF RHYTHM
To better facilitate the learning of dances and other rhythmic activities, we should first
understand the elements of rhythm, elements of movements space, and the qualities of
movements ( Andin and minas, 2004).
ELEMENTS OF RHYTHM
1. Underlying Beat or pulse Beat. The underlying beat is the steady continuous sound that
heard or felt thought any rhythmical sequence. The constant pulsation is called the pulse beat. It
is steady sound which serves as the constant measure upon which all rhythmic structure or
relationship depends. The underlying beat determines the time signature of a piece of music or
movements.
2. Measure. This refers to the identical grouping of underlying beats.
3. Rhythmic Pattern. This refers to a definite grouping of sounds or beats related to the
underlying beat. It also called the melody pattern because the rhythmic pattern follows the word
or melody.
4. Phrasing. A musical phrase is a group of measure that gives the feeling of unity. The end of a
phrase may suggest a change in direction of movement.
5. Accent. This is the force or emphasis given to any one beat in a series of pulse beats in a
measure.
6. Tempo. This is the rate of speed of the movements, music or accompaniment.
7. Intensity. This is the quality of movements or music. It refers to dynamics or force such as
heavy or light.
FUNDAMENTAL MOVEMENTS
There are three basic natural movements: the locomotor, nonlocomotor or axial movements,
and the manipulative skills (Andin and Minas, 2004).
: Locomotor movements - are used to move the body from one to another or to project the body
upward as in jumping and hopping.
Examples of Locomotor Movements
Walking
Running
Jumping
Hopping
skipping
Leaping
Galloping
Sliding
Draw steps
Marching
Trotting
Stamping
Twirling
: Non-Locomotor movements – are performed without appreciable movements from to place or
movements of the various parts of the body in fixed base.
1. Flexion – bending or shorting of the body part occurring at a joint.
Examples: knees bend, full knees bend, trunk forward bend, arms forward bend, head forward
bend, head sideward bend.
2. Extension – turning, twisting or circling
Examples: head twist, trunk twist
PHYSICAL EDUCATION II – MODULE 1
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3. Arm shoulder circling
Examples: right arm circle forward, left arm circle forward, both arms circling
4. Pendular – swinging / swaying arms forward, backward or sideward
Examples: arms swinging sideward, arms swinging overhead, body swaying right and lift
5. Percussive – striking and hitting; pushing and pulling
Examples: arm strike with closed fist, arm strike with open fist, hit with one hand, hit with both
hands
6. Vibratory – shaking and beating
Examples: shake arms and hands rhythmically, shake hips and shoulders to rhythmic pattern,
vibrate entire body rhythmically.
7. Sustained – s slow, smooth flowing movements with a balance of movement throughout the
entire series.
Example: arms swinging continuously from side to side, arms moving laterally to right and left
side in a continuous rhythmic pattern, arm circle swing continuously.
8. Suspended – a sharp movement fallowed by a series of a slow or prolonged movements until a
speak is reached
Example: both arms circle swing three to four times counterclockwise and stop movement with
arms diagonally forward, upward.
: Manipulative skills – involve object handling that develops manipulative skills like ball skills.
Other object promote other skills like better hand and eye and coordination.
BASIC DANCE POSITION OF ARMS AND FEET
There are five fundamentals feet and arms positions in dance.
POSITION
1st position
2nd position
FEET
Heels close together; toes
apart with an angle of about
45 degrees
Astride sideward about a pace
or 1 foot distance
3rd position
Heel of one foot close to instep of other foot
4th position
One foot in front of the other
of a pace distance
5th position
Heel of front foot close to big
toe or rear foot
PHYSICAL EDUCATION II – MODULE 1
ARMS
Both raised forward in a circle
in front of chest with the
fingertips about an inch apart.
Both raised sideward with a
graceful curve at shoulder
level
One arm raised sideward as in
2nd position; other arm raised
upward.
One arm raised in front as in
1st position; other arm raised
over head
Both arms raised over head
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BASIC CONCEPTS OF MOVEMENT, MOVEMENT SPACE, AND RHYTHM
Movement is a change of position in space. This is governed by mechanical principles
that limit the ability of an individual to move effectively and efficiently.
FACTORS THAT GOVERN OR AFFECT MOVEMENT:
1. Psychological Factors. Fear, anxiety, and other mental phenomena affect movement
either positively or negatively. All these may affect the performance of an individual.
2. Physiological Factors. Physical fitness and body built are two main concerns that affect
human movement. Poor muscle development and low fitness level will surely affect
movement.
3. Sociological Factors. These refer to the relationships of the performer with a particular
group and his regard to social conformity and norms.
MOVEMENT SPACE
All movements take place in space. The two kinds of space occupancy are personal space
and general space.
Personal space is the maximum space available to a person in a stationary position. This
includes the space that the person can reach by bending, stretching, and twisting.
General space is the area, which include one or more persons moving space like
gymnasia, the swimming pool, classrooms, ballroom, plaza, and others.
PHYSICAL EDUCATION II – MODULE 1
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Elements of Space
1. Direction. This refers to the movements: forward, backward, upward, downward,
sideways, right and left, diagonals and combinations of all of these.
2. Level. As the body moves in a horizontal plane, it creates a movement identified as high,
medium, middle and low. It may be represented in a relative height while standing,
sitting, lying and kneeling.
3. Range. The maximum reach of an individual or sometimes referred to as personal space
or the size of movement.
4. Pathways or Space Designs. The line or design created in space as on moves, examples
of which is an arm circling (circle design is created) or a line drawn from running to the
first base in softball.
5. Focus. This is referred to as movement is space in relation to an object or a person’s
attention of direction.
DANCE NOTATION SIGNS/SYMBOLS AND NATION
R
L
X
O
Ct.
M
2x
↔


→ Move sideward right
← Move sideward left
Move sideward right and left
Make movement is place
Clockwise direction
Counterclockwise direction
 Diagonally forward right
 Diagonally forward left
 Diagonally backward right
 Diagonally backward left
Right Foot/arm/hand
Left Foot/arm/hand
Boy dancer
Girl dancer
Count
Measures
Two times
Distance
Move forward
Move backward
SIGNS AND SYMBOLS OF MUSIC
NOTES AND REST VALUES
Whole note
4 beats
Quarter note
1 beat
Sixteenth note
4 to 1 beat
Half note
2 beat
Eight Note
2 to 1 beat
PHYSICAL EDUCATION II – MODULE 1
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NOTE PYRAMID
Notes Values and Counts
NOTE VALUE
COUNTS
1
1 and
1 ah
1234
1-2
1,2
1–2 3-4
123
(.) A dot is equivalent to half the value of the note.
PHYSICAL EDUCATION II – MODULE 1
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TIME SIGNATURE
NOTE PATTERN
COUNTS
1,2/1-2
MEASURE
2
1 2/ 1 2
2
1 – 2/ 1 2/ 1 2
3
1-2/ 1 2/ 1 & 2
3
1 – 2, 3
1
123
1
12&3
1
1 – 2 3/ 1 2 3
2
1234
1
1–23-4
1
1 -2 3 4/ 1 2 3 4
2
2/4
3/4
4/4
PHYSICAL EDUCATION II – MODULE 1
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Unit II
PHILIPPINE FOLK DANCE
This unit is prepared for students to learn new terminologies and dances, and to realize
the creativity and rich culture of the Philippine regions. This is also intended to increase the
awareness and appreciation of the uniqueness of every dance.
OBJECTIVES
1.
2.
3.
4.
At the end of this unit, the students are expected to:
Learn new dance steps and terminologies;
Accustom with the culture of other people through the study of their dances, customs,
traditions, musical instruments and arts;
Appreciate the value of folk dances as an activity that advocate friendship and familiarity
among people; and
Demonstrate dance skills refinement and confidence
BRIEF HISTORICAL BACKGROUND OF DANCE
Art and religion were the most serious concerns of primitive civilizations. Although
during the primitive times, their concerns were mainly how to find food and how to increase its
supply. Unaware of the artistic aspect, they made use of hunting and fishing as their way of life.
As regards religion, they believed that the supernatural beings govern their fate. So, to express
their feelings, they created rhythmic movements by stamping, shaking their bodies, chanting and
other bodily expressions with the use of natural accompaniment. They employed wood, bamboo,
dried leaves, and other things to accompany their rhythmic movements which developed into
dance by generally perpetuating the movement and passing the tradition to the next generation.
The interweaving factors of rhythmic created the dance and later developed into high quality
movement and became part of an establishment art form up to this time.
CHARACTERISTICS OF PHILIPPINE FOLK DANCES
1.
2.
3.
4.
5.
6.
As a rule, Philippine folk dances begin and end with a saludo.
In general, dancers are far apart. A distance of about 6-8ft. from each other is normal.
There is very little, if any, body contact although holding hands in common.
Most of the dances are done in pairs and hand movements play a very important role.
Many of our dances are done in long formation.
Our dances are performed by both young and old, and by both sexes.
PHYSICAL EDUCATION II – MODULE 1
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CLASSIFICATIONS OF THE PHILIPPINE FOLK DANCES ACCORDING TO
ITS NATURE
1. Occupational Dances – depicting action of certain occupation, industry, or human labor.
Examples: Planting, harvesting, pounding, etc.
2. Religious or Ceremonial Dances – performed in connection with religious vows and
ceremonies. Examples: Putong, Sta. Clarang Pinung-pino
3. Comic Dances – depicting funny movements for entertainment. Example: Kinoton
4. Game Dances – done with play elements (dance mixers). Examples: Pabo, Lubi-lubi
5. Courtship Dances – depicting love making. Examples: Hele-Hele, Bago
6. Wedding Dances – performed during wedding feast. Examples: Pandang-Pandang,
Pantomina
7. Festival Dances – suitable for special occasions or any social gathering. Examples:
Kuratsa, La jota, Pandango
8. War Dances – showing imaginary combat or duel. Examples: Sasgayan, Palo-Palo.
DANCE FORMS
1. Classical Dance – dances with standardized rules and restrictions. It can be religiousrelated dance or for court and royal entertainment.
2. Classical Ballet – a dance of supreme standards learned form an academe. This
originated from Italy from the word Bal-lo meaning to dance and flourished in the royal
court of France.
3. Modern Dance – a deviation from the principles of classical ballet developed by Isadora
Duncan. This is characterized by natural and true expression of the human body and soul.
4. Contemporary Dance – a combination of ballet and modern dance.
5. Folk Dance – a cultural art form handed down from generation to generation. It
communicates the customs, beliefs, rituals and occupation of a region or country. Folk
dancing belongs to and emanates from the people.
6. Ethnic and Tribal Dance – a dance particularly found in a group of people living
together in a locality with common beliefs and customs.
7. Recreational Dance – includes dance mixers, square dancing and round and round
couple dances.
8. Social and Ballroom Dance – a dance set in a social gathering with more formal
atmosphere than the simple and informal parties in which the recreational dances are the
usual forms. This is usually held in the evenings and participants are usually in formal
attire for purposes of recreation and entertainment.
9. Creative Dance – the highest form of dance for the purpose of entertainment. It is the
end product of movement exploration and improvisation as the dancer or choreographer
expresses his/her feelings, ideas and interpretation. The principles of an art form are all
observed in the composition of this dance.
10. Popular Dance – highly recognized as a dance form in television and other dance centers
like disco houses and social gatherings.
PHYSICAL EDUCATION II – MODULE 1
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COMMON DANCE TERMS



Accented walking steps – heavy walking steps
Do-si-do – 8 waltz steps ↑ passing R shoulder with partner and 8 waltz steps ↓ passing L
shoulder with partner
Engano with a close – step R → (cts. 1,2) cross and step L across R in front (ct.3); step R
→ (ct. 1) close L to R (cts. 2,3)
Free Foot – the foot not supporting the weight of the body.
Free Hand – the hand is not doing anything.
Habanera Step – Step R in place or to any desired direction (ct.1); close L to R (ct.2); step
R in place (ct. and).
Habanera with a point brush – one habanera step (1M); point L sideward; (ct.1,2) brush
the pointing foot briskly backward (ct. and).
Inside Foot – the foot nears one’s partner when they stand side by side.
Inside Hand – the hand nears one’s partner when they stand side by side.
Iskrats – ball of one foot placed firmly on the floor while other foot is pushed heavily
backward and slightly upward as if making a scratch; a slight bending of the knee of the
other leg as the scratch is made makes the movement better.
Kewet – closed fist with the thumb firmly sticking out and moved from the wrist or
elbow.
Kinewetan – raise R foot moving it in half – circle and step R, close L to R (ct. 2), step R
(ct. 3).
Masiwak – is the movement of the half-closed fist from the wrist in a or a direction and
with a rising and lowering of the wrist once.
Outside Foot – the foot away from one’s partner when they stand side by side.
Parallel Tortillier – Move soles of both feet and pivot on heels to sideward R (cts. 1,2);
pivot on soled of feet to move heels sideward R (ct. 3). Repeat as desired.
Pangangawak – rhythmic counting: one, and two, and ah, three and four

Foot work: With the body slightly twisted obliquely left, step R ↑ with knee slightly bent,
raising L foot (ct.1, and ); step L in place slightly raising R (cts. 2, and ah); step R foot in
rear of L slightly twisting body obliquely right (cts. 3, and ); stamp L foot in front,
bending trunk forward (ct.4).
Arm movement: Hands on waist.
Panginginapay – rhythmic counting; one, and two, and ah, three and four

Foot work: with body slightly twisted obliquely left, step R with knee slightly bent,
raising L foot (ct. 1, and); step L in place (cts. 2); step R foot in rear of L slightly twisting
body obliquely right (cts. Amd, ah 3); L in place (ct.4).
Arm movement: Raise both arms in front at shoulder level, wrist leading palm facing up
and rotate forearms and wrist inward-outward finish fingers pointing up (ct.1 & 2). Open
to second position and repeat same movement (ct. and, ah, 3 & 4)
Pangingiray – rhythmic counting; one, two, three, four













PHYSICAL EDUCATION II – MODULE 1
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



Foot work: With foot on a stride position, tap R (L) foot four (4) times in place, (cts.
1,2,3,4). Place R hand in the forehead, as if looking for something, then slowly moving
trunk to sideward R (L), trunk bend forward.
Arm movement: Encircle R (L) waist forward – upward, finish placing palms on the
forehead, palms facing outward, (cts. 1,2); Slowly move arms and trunk to sideward R
(L) as if looking for something, trunk bend forward (cts. 3,4).
Rock Steps – step R in front (ct.1) transfer weight onto L foot in rear (ct. and) repeat as
many times as desired with feet in place and transferring only the weight from front to
rear.
Sangig – step R (ct.1) close L (ct.2); raise R foot slightly and move it inward in air (ct.
and).
Waltz balance – step R ↑ or → (ct. 2); close L to R and move it inward in air (ct. and).
Waltz Step – step R → (ct. 1), close L to R in rear (ct. 2), step R in place (ct. 3).
PHYSICAL EDUCATION II – MODULE 1
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BALANGBANG
Balangbang is a Pangasinan term which refers to the farmer’s waist. It is said to be the
most painful part of the body after working in the rice fields due to the continuous bending
during planting and harvesting rice. Farmers say that they are very much relieved when they
dance and shout “Balangbang.”
COSTUME


Girl – Kimona with long and sleeves; a panuelo placed over the left shoulder; a long
peasant ankle length skirt.
Boy – Camisa de chino with colored trousers and a handkerchief tied around the head.
Both are barefooted.
MUSIC

2/4 rhythm and composed of 2 parts A and B
FORMATION
Audience
X
O
6”
BASIC POSITIONSS/MOVEMENTS:
1. Kewet
3. Change Step
2. Iskrats
4. Bleking
PHYSICAL EDUCATION II – MODULE 1
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Dance Steps/Feet Movement
INTRODUCTION
Music Introduction
Partners face each other.
a. 4 steps ↑ to meet
partner at center
b. 8 steps
c. 3 steps ↓ moving to proper
places; pause.
Arm/Hand Positions/Movement
M
hands on waist.
2M
Join both hands with partner.
Hands on waist.
Bow to partner with arms
in 2nd position and kewet hands.
4M
2M
Arm/Hand Positions/Movement
M
Hands on waist.
2M
Kewet L, R alternately overhead
2M
4M
8M
Arm/Hand Positions/Movement
M
Hands on waist and rotate
trunk
and 
Kewet R hand overhead when
pointing foot with trunk
slightly bent on L.
Kewet L hand overhead when
pointing foot
4M
FIGURE I
Music A
Partners face each other.
Dance Steps/Feet Movement
a. Cross-change step with
R and 3 iskrats with L
beside R.
b. 2 change steps L, R
c. Repeat (a) and (b)
d. Partners face R with L
shoulders toward each other.
Repeat all (a – c)
then shout “Balangbang”
FIGURE II
Music B
Partners face each other.
Dance Steps/Feet Movement
a. Stand
b. 3 small steps ↑; point L
in rear.
c. 3 small steps ↓ starting
with L to be R to R shoulders
with partner point R in rear.
d. Repeat (a).
e. 4 steps ↓ to proper place
3-step turn R;
pause.
PHYSICAL EDUCATION II – MODULE 1
Hands on waist
2M
2M
4M
4M
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FIGURE III
Music A
Partners face left.
Dance Steps/Feet Movement
a. Change step R → (1M);
Point L ← (ct.1); point L
lose to R (ct. and); point
L → (ct. and);
b. Repeat (a) with L and point R.
c. Repeat (a)
d. 3-step turn L to proper places
and finish facing opposite
direction.
e. Repeat all (a-d) with reverse
feet and direction; shout
“Balangbang” on last ct.
Arm/Hand Positions/Movement
M
Hands on waist.
Bend R arm at shoulder
level on ct; jerk elbow
downward close to waist
on ct. and; raise elbow
to shoulder level on ct.2.
Reverse arm position.
2M
Hands on waist.
2M
2M
2M
Reverse arm position
8M
Arm/Hand Positions/Movement
M
Hands on waist and rotate
trunk
and 
Hands on waist.
4M
FIGURE IV
Music B
Partners face audience.
Dance Steps/Feet Movement
a. Stand
b. 3-step turn to the R and
and hop on R with L raised
in rear.
c. Repeat all (a-c) with reverse
direction.
d. Repeat all (a-c) with reverse
direction.
Interlude
Simultaneous movements of Boy and Girl.
Boy: Kneel on R.
Hands on waist and rotate
trunk
and 
Girl: Running steps going
around partner.
PHYSICAL EDUCATION II – MODULE 1
2M
2M
8M
4M
Page 15
FIGURE V
Music A
Partners face each other.
Simultaneous movements of Boy and Girl.
Dance Steps/Feet Movement
Arm/Hand Positions/Movement
Girl:
a. 2 change steps R, L.
Hands on waist
b. Bleking steps 2x with R
Hands on waist
in front.
c. 2 change steps L, R:
Same
Boy:
a. Kneel on R knee.
Clap hands 2x on each side R, L alternately
Girl and boy exchange movements, on last ct. shout “Balangbang.”
M
2M
4M
4M
8M
FIGURE VI
Music A
Partners face each other.
a.
b.
c.
d.
Dance Steps/Feet Movement
16 running steps moving
around
with partner
finishing in proper places.
3 steps sideward → and
raise L in rear.
Repeat (b) to the left; raise R.
Repeat all (a-c) and reverse
feet direction.
Arm/Hand Positions/Movement
Join both hands and pull each other
M
4M
Same
2M
2M
8M
FIGURE VII
Music B
Partners face audience.
Dance Steps/Feet Movement
a. 8 running steps ↑: repeat
moving ↓
b. 3 steps sideward R (1M);
point L in rear (1)
c. Repeat (b) starting with L
d. Repeat all (a-c)
PHYSICAL EDUCATION II – MODULE 1
Arm/Hand Positions/Movement
Join inside hands and sway downward
and upward alternately
Same
M
4M
2M
2M
8M
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FINALE
Music Introduction
Partners face audience.
Dance Steps/Feet Movement
a. Boy: Stand
Girl: Whirl turn 3x under arch
of arms.
b. Boy and Girl exchange movements
c. Bothe step R ↑ and pause.
PHYSICAL EDUCATION II – MODULE 1
Arm/Hand Positions/Movement
Join inside hands and raise
to form an arch
Bow to audience in 2nd position.
M
3M
3M
2M
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ESTUDIANTINA DE CAPULEÑO
This dance is usually performed during occasions like baptismal, wedding, birthday
parties, and even during town fiestas. It is very popular in the town of Capul as well as in the
nearby town of Allen, Lavesares, and Victoria in Samar.
COSTUME:
Girl – Maria Clara or any typical Capuleño costume
Boy – Barong Tagalog and white pants
MUSIC:
¾ rhythm and composed of 3 parts: A,B, and C
FORMATION:
Audience
X
O
6”
INTRODUCTION
Music Introduction
Partners face each other.
PHYSICAL EDUCATION II – MODULE 1
Page 18
Dance Steps/Feet Movement
a. 3-steps turn R ; pause.
Arm/Hand Positions/Movement
Girl: Hold skirt.
Boy: Hand on waist.
Bow to partner.
M
2M
Arm/Hand Positions/Movement
Arms in 4th position
Arm in lateral position shoulder
level.
M
8M
6M
Girl: Hold skirt.
Boy: Hand on waist.
2M
FIGURE I
Music A
Partners face each other.
Dance Steps/Feet Movement
a. 4 sway balance with a close.
b. 6 waltz steps moving
with
Partner and finish in proper
Places.
c. 3-step turn R ; pause.
d. Repeat all (a-c) starting L.
16M
FIGURE II
Music B
Partners face each other.
Dancers Steps/Feet Movement
a. 4 waltz steps ↑ to meet partner
at center.
b. 4 brush steps turning R .
c. 4 waltz steps ↓ to partner’s
Original place. Finish facing
partner.
d. Repeat (b).
e. Repeat all (a-d) and finish
in proper places.
Arms/Hand Positions/Movement
Arm in lateral position shoulder
Level
Kumintang hand overhead, L holding
Skirt/ on waist.
Arm in lateral position shoulder
level.
M
4M
4M
4M
4M
16M
FIGURE III
Music C
Partners face each other.
Dance Steps/Feet Movement
a. 2 sway balance with a point
b. Partners face L 3 steps →
R; point L in front.
c. Repeat (b) 3x more alternately
L ←, R →, L ←.
d. Face partner. 4 waltz steps to
Partner’s place; finish facing
each other.
PHYSICAL EDUCATION II – MODULE 1
Arm/Hand Positions/Movement
Arms in 4th position
Same
M
4M
2M
Reverse arm positions.
6M
Arms in lateral position shoulder
4M
Page 19
e. Repeat all (a-d) and finish in proper places.
FIGURE IV
Music A
Partners face each other.
Dance Steps/Feet Movement
a. 8 waltz steps around moving in
Circle with partner.
b. Turn R about and repeat (a)
moving with partner.
c. Repeat (a) and (b) and finish in
original places.
Arm/Hand Positions/Movement
Arms in lateral position shoulder
M
8M
8M
FIGURE V
Music B
Partners face each other.
a.
b.
c.
d.
e.
Dance Steps/Feet Movement
4 waltz steps ↑ to meet partner
at center.
2 waltz steps .
2 waltz steps ↑ to partner’s
place.
Repeat all (a-c) and finish
in proper places.
Repeat all (a-d).
Arm/Hand Positions/Movement
Arms in lateral position shoulder level.
M
4M
Join R hands.
Turn under and release hold.
2M
2M
8M
16M
FIGURE VI
Music C
Partners face each other.
Dance Steps/Feet Movement
a. Repeat Figure III.
Arm/Hand Positions/Movement
M
32M
Arm/Hand Positions/Movement
Girl: Hold Skirt.
Boy: Hands on waist. Bow to
partner on pause.
M
2M
SALUDO
Music Saludo
Partners face each other.
Dance Steps/Feet Movement
a. 3-step turn R; pause
PHYSICAL EDUCATION II – MODULE 1
Page 20
KUMINTANG
During the Spanish regime, the parents of the rich conservative families strictly
prohibited their daughters called colegialas to mingle with the opposite sex. There were times,
however, when these girls were allowed to go to the town plaza by themselves. It was during
such times that they experienced flirting with the boys.
This dance, which originated from the provinces of Batangas portrays the modest
behavior as well as the flirtatious movement of the girl while being courted by an admirer.
COSUTME:
Girl – Maria Clara or serpentine with butterfly sleeves and panuelo
Boy – Barong Tagalog with black pants
MUSIC:
2/4 rhythm and composed of 3 partners: A, B, and C.
FORMATION:
Audience
X
O
4’
BASIC DANCE STEPS:
1. Habanera steps
2. Habanera with point brush
3. Sangig
ENTRANCE
Music A
Boys and Girls stand at opposite side of stage.
PHYSICAL EDUCATION II – MODULE 1
Page 21
Dance Steps/Feet Movement
a. Boy enters: 4 steps ↑ (2M);
2 change steps ↑ (2M).
b. Repeat (a) to finish at center
of stage facing audience.
c. Girl enters: Repeat (a) and (b)
movements of Boy, finishing
at R side of partner and facing
audience.
Arm/Hand Positions/Movement
Hands move naturally at sides.
M
4M
4M
Hold skirt as hands exaggerate
movements by raising skirt up
and down slightly and rhythmically
with steps.
8M
FIGURE I
Music B
Partners face each other.
Dance Steps/Feet Movement
Arm/Hand Positions/Movement
Boy watches admiringly as Girl dances.
Girl:
a. 4 steps ↑ and 2 changes
steps ↑.
b. Repeat (a) ↓ to partner’s
side (4M); repeat movements
↑(4M).
c. 4 steps ↓ and 3-step turn R ↓
To proper places beside
partner; pause.
Hold skirt and raise it slightly
And rhythmically with steps.
M
4M
8M
Same
Bow to partner.
4M
Arm/Hand Positions/Movement
Girl: Hold Skirt.
Boy: Hands face partner
when pointing foot.
M
4M
FIGURE II
Music C
Partners face each other.
Dance Steps/Feet Movement
a. Habanera with a point-brush ↑;
repeat  retracting steps
to original position.
Audience
X
PHYSICAL EDUCATION II – MODULE 1
O
Page 22
b. Habanera with a point brush ↑
passing R shoulder of partner
to finish in back-to-back
position. Repeat movement ↓
passing L shoulder and back
to proper places.
Same
4M
Audience
X
c. Habanera with a point-brush
→; repeat to ←
d. Stamp-step R ↑ (ct.1);
step L once ↓ (ct.2);
close R to L (ct. and).
e. Repeat (d) with L.
f. 2 habanera steps with girl
turning under arched hands
finishing in front of Boy
facing the same direction.
O
Same
4M
Clap both hands with partner
once; continue to circle hands
outward and back to chest level.
1M
Join R hands.
1M
2M
Arm/Hand Positions/Movement
Join R and L hands.
M
4M
FIGURE III
Music D
Girl stands in front of Boy.
a.
b.
c.
d.
e.
f.
Dance Steps/Feet Movement
2 sangig steps with R (2M)
Habanera with a point-brush
→.
Repeat (a) with L ←
2 Habanera steps ↓
to proper places.
2 touch steps R, alternately
in front.
Repeat (d) and (e) of
Figure II (sangig steps).
2 habanera steps
turning
PHYSICAL EDUCATION II – MODULE 1
Girl: Hold skirt.
Boy: Hands on waist.
Arms in 4th position L,
R hand high alternately.
4M
2M
2M
2M
Girl: Hold skirt.
Boy: Hands on waist.
2M
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FIGURE IV
Music C
Partners face each other.
Dance Steps/Feet Movement
a. Repeat (a-e) of Figure II.
b. 2 habanera steps turning
Arm/Hands Positions/Movement
Girl: Hold skirt.
Boy: Hands on waist.
M
14M
2M
FIGURE V
Music D
Partners face each other.
Dance Steps/Feet Movement
a. Habanera step R ↑,
habanera step L ↓.
b. Repeat (a)
c. 4 habanera steps with
Girl turning R and finish
R to R shoulders with Boy
so a window is formed.
d. 6 habanera steps moving
with partner.
e. 2 habanera steps ↓to
proper places.
Arm/Hand Positions/Movement
Join both hands and raise
or stretch arms sideward;
stretch arms in front.
Join R and L hands; raise
joined hands to form a window.
M
2M
2M
4M
Look at each other through
window formed.
Girl: Hold skirt.
Boy: Hands on waist.
6M
Arm/Hand Positions/Movement
Girl: Hold skirt.
Boy: Hands on waist.
Exaggerate hand and shoulder
movements with each step.
Raise arms to sides at waist
level to curtsy.
M
4M
2M
FIGURE VI
Music A
Partners face each other.
Dance Steps/Feet Movement
a. 4 steps ↓ to move away from
partner . 4 steps ↑ toward
partner.
b. Step R → and curtsy L
in rear; step L ← and
curtsy R in rear.
c. Repeat (a) and (b).
d. 4 steps and 4 chasing steps
to partner’s place passing R
shoulders; finish facing partner.
e. Repeat (d) to proper places.
f. Repeat (d) and (e).
PHYSICAL EDUCATION II – MODULE 1
Same
4M
8M
4M
4M
8M
Page 24
FINALE
Music Finale
Partners face each other.
Dance Steps/Feet Movement
a. Both turn under arched
arms and feet together.
PHYSICAL EDUCATION II – MODULE 1
Arm/Hand Positions/Movement
Joined both hands. Bow to
Audience.
M
2M
Page 25
LAB-PAD
(Livunganen – Arumanen Manobo)
Dance Researcher:
Resource Person:
Meaning:
Dance Culture:
Prof. Flora M. Garcia
Mrs. Feliza Rangaban
“To dance”
Highland, Ethnic
BACKGROUND/CONTEXT:
This dance originated from among the Livunganen-Aromanen Manobos residing at
Libungan River Valley, particularly in Barongis Libungan, Cotabato. The early home of the tribe
was in Aruman, a barrio of Carmen, North Cotabato. Because of famine, some of the members of
the tribe transferred to Libungan and finally settled in Barongis where the seat of culture is
found. The ladies of the tribe usually perform this dance during important gatherings like
Samayan and Bulangan Festivals celebrated annually by the cultural communities in the
province.
BASIC DANCE STEPS USED:
1. Pangangawak
2. Panginginapay
3. Tarupak
4. Pangingiray
DANCE PROPERTIES:
Typical Manobo Livunganen-Arumanen attire:
Top: Bright colored long sleeve blouse with V neckline and ruffles gathered at the
waist. The blouse is embroidered with colorful designs.
Skirt: Any printed malong
Accessories: Choker beads on the neck, arms, head, and feet.
MUSIC:
A. 1 & 2 ah 3, 4
B. 1 & 2 and 3, 4
C. 1 2 3 4
PHYSICAL EDUCATION II – MODULE 1
Page 26
MUSICAL INSTRUMENTS:
Agong or Gibba (drum)
FORMATION:
Vertical, Horizontal, Circle
FIGURE I
Dance Steps/Feet Movement
a. 8 pangangawak dance steps
moving center of stage
b. Repeat (a) 8 times more,
finish forming two columns.
Arm/Hand Positions/Movement
Hands on waist
M
8M
Same arm movement
8M
Arm/Hand Positions/Movement
Panginginapay
movement
M
8M
Same arm movements
8M
FIGURE II
Dance Steps/Feet Movement
a. Using panginginapay steps,
the front girls in the column
dance forward inward between
the columns followed by the
rest of girls. Dancers continue
moving until the first girls reach
the original place of the last girl
in the line. See Diagram A.
Diagram A.
O
O
O
O
O
O
b. Using same movement,
the dancers cast off and return
to their original places.
(See diagram B).
Diagram B.
O
O
O
O
O
O
PHYSICAL EDUCATION II – MODULE 1
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FIGURE III
Dance Steps/Feet Movement
a. Using pangangawak steps,
each column moves
to sideward R and L
facing audience to form
horizontal lines as in
diagram C.
Diagram C.
Arm/Hand Positions/Movement
Same arm movement
A
O
O
M
4M
B
O
O
O
b. Column A executes 4
tarupak R (L) left step
moving away from audience.
c. Repeat (b) doing reverse
position, finish all facing
audience.
d. 4 pangingiray movement R
and L.
O
O
O
Tarupak arm movement
4M
Same arm movement
4M
Pangingiray arm movement
4M
Arm/Hand Positions/Movement
Pangangawak arm movement
M
4M
Same arm movement
2M
Same arm movement
2M
Arm movement
8M
FIGURE IV
Dance Steps/Feet Movement
a. 4 pangangawak steps to form
Form 1 big circle. Finish facing
inside the circle.
b. 2 pangingipay steps moving
inward the circle.
c. Turn-right about and
repeat (b).
d. Repeat same movement
moving clockwise, finish
forming two groups as in
diagram D.
Diagram D.
A
O
O
O
PHYSICAL EDUCATION II – MODULE 1
B
O
O
O
O O
Page 28
FIGURE V
The movement shall be done simultaneously.
Dance Steps/Feet Movement
Group A
a. Sitting Position
Arm/Hand Positions/Movement
M
a. Panginginapay hand/arm
2M
movements
b. Raise arms in f ront, R fingers
1M
pointing downward, L finger
doing the reverse (ct.1 and);
reverse position of finger (ct.2 and);
repeat same movement of wrist
(cts. 3,4)
c. Repeat (b), arms in 2nd position.
1M
d. Repeat (a and b)
4M
e. Panginginay hand movement (R and L) 4M
f. Repeat (e) slowly rising up to sliding position
Group B
a. 8 panginginapay steps moving clockwise around group A
b. 8 tarupak steps going counter clockwise
8M
8M
FIGURE VI
a. 4 pangangawak steps forward to form one horizontal line.
b. 4 pangingiray R/L in place
c. 8 tarupak steps moving clockwise to exit.
4M
4M
8M
MUSIC:
/
A. Pangangawak/Pangingiray
/
one, and, two, and, ah, three, and, four
/
B. Tarupak
one, and, two, and three, four
/
C. Pangingiray
/
/
one, two, three, four
PHYSICAL EDUCATION II – MODULE 1
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PANDANGO SA TAPIS
Tapis is a rectangular piece of cloth that peasant women used to wrap around the waist.
This dance focuses on the tapis to show its different uses, especially when working in the fields.
It originated in Lingayen, Pangasinan.
COSTUME:
Girl – Peasant skirt with tapis and camisa; panuelo over L shoulder
Boy – Camisa de chino and any colored trousers and a hat
MUSIC:
¾ rhythm and composed of 3 parts: A, B, and C.
FORMATION:
Audience
X
O
6”
BASIC DANCE:
1. Kewet
2. Kinewetan
Note: Boy’s hat is on his head from Introduction to Figure IV, and on the head of Girl
from Figure V to Finale.
INTRODUCTION
Music Introduction
Partners face each other.
Dance Steps/Feet Movement
a. Kinewetan R
b. Hop on R.
c. 3-step turn ← and pause
PHYSICAL EDUCATION II – MODULE 1
Arm/Hand Positions/Movement
Girl: Hold skirt.
Boy: Hands on waist.
M
1M
1M
2M
Page 30
d. Girl: 2 waltz steps moving ↑
Towards Boy and finish in front
of him.
Boy: Point R 
e. Girl: 2 waltz steps ↓ to
move away from Boy to
proper place.
Boy: Point L .
f. Repeat all (a-e) starting
with L.
Raise tapis slightly upward
and downward alternately
in reverse direction of hands
in flirtatious manner.
Claps hands on cts. 1, 3 of the M.
Same
2M
2M
Same
8M
FIGURE II
Music B
Partners face each other.
Girl unwraps tapis around waist and hold it on corners; Tapis still behind waist.
Dance Steps/Feet Movement
a. 3 steps R, L, R → point L
in front.
b. Repeat (a) starting with L →
c. 4 waltz steps ↑ to meet
partner at center.
d. 3 brush steps to quarter
turn R
; finish with L
shoulders; step R →
and point L in front.
e. Girl: Slow waltz turn L
moving away from partner
to proper place.
Boy: 2 waltz steps R, L;
Waltz turn ↓ to proper place.
PHYSICAL EDUCATION II – MODULE 1
Arm/Hand Positions/Movement
Girl: Raise R hand holding one
Corner of tapis and L downward
(ct.1); reverse movement (ct.2),
raise R and L down (ct.3);
and same position when
pointing L foot.
Boy: Hands on waist.
Reverse hand movements.
Same, but on last ct.,
boy takes corner of tapis held
by Girl’s hand with his L.
Kewet hand overhead; this time,
tapis is halfway wrapped around
Girl’s waist.
M
2M
Hold both corners of tapis
as boy releases hold.
4M
2M
4M
4M
Page 31
FIGURE III
Music C
Partners face each other.
Girl holds A and D corners, Boy hold B and C corners.
A
B
Tapis
D
a.
b.
c.
d.
Dance Steps/Feet Movement
4 cross waltz moving
to finish in partner’s place.
Point R in front (1M);
feet together (1M).
Waltz turn inward toward
audience.
Repeat all (a-d) finishing
in proper places with Boy
releasing hold of tapis.
C
Arm/Hand Positions/Movement
Raise tapis at head level.
M
4M
Sway tapis forward audience.
2M
Hold tapis overhead.
2M
8M
FIGURE IV
Music B
Partners face each other.
Dance Steps/Feet Movement
a. Girl: Hold corners A and D
waltz steps ↑↓; waltz turn R
Boy: 2 waltz turn moving
About 8 feet away and finish
facing partner.
b. Girl: Step R → (ct.1) and
point L ← (cts. 2, 3).
Repeat movements 3x more
L, R, L.
Boy: 2 close steps → and 2
close steps ←
c. Girl: Repeat (a).
Boy: Kneel-sit on heel and
half-stand on L.
PHYSICAL EDUCATION II – MODULE 1
Arm/Hand Positions/Movement
Sway tapis ↑↓: circle tapis
overhead when turning.
Forearm turns.
M
4M
R hand upward and L downward
Shake tapis 3x.
Reverse hand positions.
4M
Bend trunk on ct. 1 and trunk erect
on cts. 2, 3 of the M.
Look tired and wipe perspiration
on forehead with R hand (1M);
L hand (1M); get hat from head
and use it for fanning (2M).
4M
Page 32
d. Girl: 2 waltz steps R, L.
Boy: Stand up and run
towards partner.
Both feet together.
Sway tapis R and L slides at
shoulder level. Place hat over
girl’s head.
Girl: Wipe perspiration
of Boy with tapis.
Boy: Bend trunk forward.
4M
FIGURE V
Music B
Girl hold A and D corners; Boy holds B and C corners.
Dance Steps/Feet Movement
a. Waltz balance R ↑ and
Waltz balance L ↓.
b. Repeat (a).
c. Rise on toes and mincing
steps turning around
In a circle with partner.
d. Repeat all (a-c) to finish
in proper places.
Arm/hand Positions/Movement
Raise hands to put corner close
together with partner. Full corners
close to body.
Both hold respective corners
overhead.
M
2M
2M
4M
8M
FIGURE VI
Music C
Partners face audience.
Girl holds A corner with R hand;
Boy holds B corner with L hand.
Dance Steps/Feet Movement
a. 3 steps ↑ and stamp L.
b. Turn about to face opposite
c. Repeat (a) and (b) 3x more.
PHYSICAL EDUCATION II – MODULE 1
Arm/Hand Positions/Movement
Shake tapis forward when
stamping and shout “shoo”
to drive away the birds.
Transfer hold of corner to other
other hand; shake tapis and
shout “shoo.”
M
2M
2M
12M
Page 33
PANTOMINA MAYOR
This dance originated from the province of Sorsogon. The old folks of the place believed
that it was introduced during the Spanish regime. It has become a favorable of the younger adults
because of the graceful and romantic movements.
This is a courtship dance. The boy snaps his fingers as he dances, which is his expression
of his admiration for the girl he loves.
COSTUME:
Girl – Maria Clara or Balintwak
Boy – Barong Tagalog or Camisa de Chino
MUSIC:
¾ rhythym and composed of 4 parts; A, B, C, and D
FORMATION:
Audience
X
O
6”
BASIC DANCE STEPS:
1. Accented walking steps
2. Rock steps
3. Engaño with a close
4. Waltz Balance
5. Parallel Tortillier
INTRODUCTION
Music Introduction
Partners face each other.
PHYSICAL EDUCATION II – MODULE 1
Page 34
Dance Steps/Feet Movement
a. 3 –step turn and
pause.
Arm/Hand Positions/Movement
Girl: Hold skirt.
Boy: Hands on waist.
Bow to partner on 2nd M.
M
4M
Arm/Hand Positions/Movement
Arms swing naturally
M
2M
2M
FIGURE I
Music A
Partners face audience.
a.
b.
c.
d.
e.
f.
Dance Steps/Feet Movement
4 accented walking steps ↑.
4 rocking steps ↑ on R and ↓
on L.
Repeat (a) and (b) ↓ to proper
place.
Face partner; repeat (a) and (b)
moving towards partner’s place
passing R shoulder with partner.
Repeat (c) to proper places.
Face audience; repeat all (a-e)
but make a 3 step turn R to
proper places instead
of rocking steps on last 2 M.
4M
4M
4M
10M
FIGURE II
Music B
Partners face each other.
Simultaneously movement of Girl and Boy
Dance Steps/Feet Movement
Girl:
a. 2 engaño steps with a
close R → and L ←.
b. 4 waltz steps turning
; finish facing
partner.
c. Repeat (a-c); finish
facing partner.
Boy:
a. 4 waltz balance to sideward
R → and L ← alternately
Arm/Hand Positions/Movement
M
Arms in reverse “T” position
and kumintang inward on the
close position.
Arms in lateral position with
kumintang inward of both
hands.
4M
16M
Arms in lateral position;
make finger-snaps on cts.
2, 3 of every M.
Forearm turns.
b. 4 waltz steps turning
R ; finish facing partner.
c. Repeat (a) and (b); finish facing audience.
PHYSICAL EDUCATION II – MODULE 1
4M
4M
4M
8M
Page 35
d. 2 engaño steps with a
close R and L.
e. 4 waltz steps turning
; finish facing
partner.
f. Kneel R with body
slightly bent forward.
Arms in reverse “T” position;
make finger-snaps on cts.
2, 3 of every M.
Arms in lateral position with
kumintang inward of both
hands.
Clap hands on cts. 2, 3 of every M.
every M.
4M
Arm/Hand Positions Movement
M
Arms in reverse “T” position
with kumintang inward.
Arms in lateral position with
Kumintang inward.
Same
4M
Hands to sides.
Arms in 2nd position
and snap fingers on cts.
2, 3 of every M.
Arms in lateral position
1M
7M
Arm/Hand Positions/Movement
Arms in 2nd position with
knees slightly bent and trunk
bent forward; kumintang
on every M.
Girl: Hands on waist.
Boy: Hands in waist.
Forearm turns.
M
8M
Arms at sides.
2M
4M
8M
FIGURE III
Music C
Partners face each audience.
Simultaneously movement of Girl and Boy
Dance Steps/Feet Movement
Girl:
a. 4 step swings moving ↑
b. 4 waltz steps moving ↑
to original position
c. 4 close steps moving ↑;
4 close steps ↓ to original places
Boy:
a. Jump to cross R across L
b. Bend knees slightly and
bend trunk forward; hold
to this position for 7M.
c. 4 close steps ↑.
d. 4 places steps ↓ to proper places
4M
8M
4M
FIGURE IV
Music D
Partners face each other.
Dance Steps/Feet Movement
a. 8 parallel tortillier steps
to sideward →
b. 2 step-swings L, R
c. 2 waltz steps turning L
to original place.
d. 6 turning steps to partner’s
place moving in a semi-circle.
PHYSICAL EDUCATION II – MODULE 1
2M
2M
Page 36
e. Boy: kneel on R.
Girl: Waltz turn R
f. Repeat all (a-e)
Forearms turns
2M
16M
Note: Use last M to bow to audience.
PHYSICAL EDUCATION II – MODULE 1
Page 37