Grade 8 Learning Materials
Under the K to 12 Curriculum
MAPEH Grade 8
Physical Education
Fourth Quarter
Regional and National Dances with Asian Influence
INTRODUCTION
Kumusta! Naimbag nga aldaw! Maayong buntag! Como esta usted? Assalam
Malaykum! Hello Grade 8 learners! How’s your day? I hope that you are as strong,
energetic, athletic and competitive as ever because for all you know, you will be
needing all your strengths for the activities found in this module.
When you were in Grade 7, you have learned to perform examples of local
and Indigenous dances. You also learned to value them in order to maintain good
health and eventually realized that folk dancing is indeed a good recreational activity.
Just like any other sports or games, dancing is also a physical activity that can
promote lifelong fitness and wellness. It is a good source of exercise that could help
develop grace and poise. It can even help in maintaining good health as it highlights
health-related fitness components such as cardio-vascular endurance, flexibility, and
strength.
With the effect of acculturation, indigenous dances of the Philippines may
have been modified since the culture of other countries has influenced our very own
dances. This is evident in the western style adopted in our folk dances. Along with
this are the influences of our Asian neighbors that have enriched our national dances
to a large extent. It is for this reason why there is a need for you to understand our
cultural rootby learning our dances.
This module will introduce you to the different regional and national folk
dances of the Philippines with influences from other Asian countries. We are part of
the on going history of trade and industry and that part and parcel are influences
retained in us like textiles, color of fabrics, and design reflected in the costumes of
the dance.
Furthermore, this module anchors its framework on the holistic approach of
using regional and national dances as potent sources for staying healthy and fit. At
the same time, they are prime educational tools for learners like you.
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OBJECTIVES:
At the end of the lesson, you should be able to


discuss the origin and location of folk dance through its costume and music
execute selected regional and national dances with Asian influences such
as the Binislakan, Sakuting, Sua-ko-Sua and Pangalay
 demonstrate the dance sequence appropriately
 identify the meaning of the gestures and hand movements of the dance selected.
 approximate interpretation of the dance literature
 promote folk dancing as a physical activity for the family.
Pre- Assessment:
To check how ready you are on 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 anwer the accompanying questions.
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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
poses, costumes, and props?
6. Is there a need for proper expression in folk dancing? Does it speak of
something?
7. Can you name examples of Philippine folk dances that have Asian influence?
Can you demonstrate examples of foreign folk steps? What are their step
patterns?
8. What are the implements that are commonly used in folk dances with Asian
influence? What are they for?
9. Can you explain the effects of acculturation in the country based on the kind
of dances we have?
After finishing the test, you are now
ready to face the Learning Goals and
Targets of this module. As a grade 8
learner, what are your expectations?
Write in your activity sheet your own
learning goals in relation to this
subject. One example of learning
goal is basis in making your own.
(Example: I expect that at the end of this lesson, I will be able to identify and learn
examples of regional and national folk dances with Asian influence.)
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
______________________________________________________________

______________________________________________________________

______________________________________________________________

______________________________________________________________

______________________________________________________________
Now that you have written your
personal goals and targets, you
may now procede to the next
level which is a gateway for you
to get acquianted with the basics
in folk dancing. So enjoy your
journey as you unravel the origin
and historical background of the
regional and national folk dances
with
Asian
influence.
Your
journey starts now!!! Goodluck 
PART I: WHAT TO KNOW
LESSON I
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 tell 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 in to 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
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understand its significance and 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
Meaning
Dance Culture
Place of Origin
Country of Influence
Ethno-linguistic Group
Classification
:
:
:
:
:
:
:
Francisca Reyes
With the use of sticks
Christian Lowland
Pangasinan
China
Pangasinense
Social Dance
www.kalilayan.com
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.
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Dance Properties:
Costume
Female
:
Male
:
Siesgo and kimono with loose and long
sleeves and soft panuelo
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.
SUA-KU-SUA
Dance Researcher
Meaning
Dance Culture
Place of Origin
Country of Influence
Ethno-linguistic Group
Classification
:
:
:
:
:
:
:
Ramon A. Obusan
My Pomelo Tree
Lowland Muslim (Coastal)
Jolo, Sulu
China, Malaysia and Indonesia
Tausug
Courtship Dance
Source: www.kalilayan.com
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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 sang 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:
Female:
Top (Barawasi)
:
Material
:
Pants (Sawal or Kantiu) :
Material
187
:
Traditional loose blouse, long sleeves wit
deep,
plunging key-hole neckline.
Extra panels attached to the right and left
chest decorated with many tiny brass
buttons.
Cheap printed or plain Chinese silk or
cotton.
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.
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 pasted 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 in barefoot.
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.
Male:
Material
:
Pants (Sawal or Kantiu) :
Music
Count
188
Accessories
:
Suggested Footwear
:
:
:
cheap printed or plain Chinese silk or
cotton.
Similar to the female pants but in darker
colors and bolder designs.
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 (leafknife).
dancers are in barefoot
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
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
Meaning
Dance Culture
Place of Origin
Country of Influence
:
:
:
:
:
Ethno-linguistic Group
Classification
:
:
Francisca Reyes-Aquino
Finger nail
Lowland Muslim (Coastal)
Sulu
Thailand, Malaysia, Burma, Cambodia and
Indonesia
Tausug
Social Dance
http://images.search.yahoo.com/search/images;_ylt=A0PDoX5F909Qah8A0iSJzbkF?p=p
angalay%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
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the Pangasik and features more martial movements, while a pangalay that features
both a male and female dancer is called Pangiluk.
The original concept of the Pangalay is based on the preIslamic Buddhist concept
of
male
and
female
celestial
angels
(Sanskrit: Vidhyadhari, Bahasa Sūg: Biddadari) common as characters in other
Southeast Asian dances.
Dance Properties:
Costume
Accessories
Suggested Footwear
Music
: Dancer wears a typical Joloana costume
: Expert and professional dancers use janggay,
extended metal finger nails in each finger. The rich
people have janggay made of solid gold or silver.
: dancers are in barefoot.
: 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
Meaning
Place of Origin
Country of Influence
Classification
190
:
:
:
:
:
Francisca Reyes- Aquino
Refers to a group of peasants
Panay and Leyte
China, Burma and Cambodia
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 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.
191
SAKUTING
Dance Researcher
Meaning
:
:
Place of Origin
Country of Influence
Classification
:
:
:
Francisca Reyes Aquino
Refers to rhythmic sticks producing the
accompaniment for the dance.
Abra and Ilocos Norte
China
Recreatinal and Social Dance
flickr.com
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
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.
192
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
and
: 2/4 and ¾ rhythms and composed of 9 parts : A, B, C, D, E, F, G, H
I.
Formation
: Audience
X
O
X
O
O
X
O
X
One set of dancers
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
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Were you able to arrange the jumbled
letters correctly? Please remember that
the jumbled letters reflected on items 15 are the actual names of the dances
which you are about to learn. To a certain
extent, knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance.
To further measure how retentive
your memory is, try to answer the next
activity by recalling the significant
details of the different dances below.
B. In your activity notebook or sheet, copy the table as shown and fill it in with
information called for.
Name of
Dance
Literal
Meaning of
the Name of
the Dance
Place of
Origin
Sua-Ku-Sua
Social Dance
With the use
of sticks
Sakuting
Tiklos
Pangalay
Dance
Classification
A group of
peasants
Lingayen,
Pangasinan
Abra
Leyte
Influenced
by what
Asian
Country?
China,
Malaysia,
Indonesia
Social Dance
Recreational/Social
Dance
Wedding Dance
Malaysia,
Indonesia,
Malaysia,
Thailand,
Burma and
Cambodia
Note to the learner: One dance should only be taught by your teacher for the 4th
quarter. However, if time allows you to learn one more dance or all of the five
dances, then that will be a lot better.
194
Have
you
filled
out
the
correct
information in the table above? After
knowing
the
important
concepts
derived from the previous learning, try
to strengthen your understanding by
doing the following activity.
Activity 1: Tracing the origin and location of a Dance through its costume.
WHERE DO I BELONG?
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation.
1. In a sheet of paper, write the place of origin of the dances you saw in the
video presentation by recognizing the costumes and props, facial expressions
and body gestures of the performers. Your teacher here will show you a video
presentation of different dances with Asian influence like Singkil, Kappa
Malong, Pangalay, Sua-ku-Sua, Sakuting, Binislakan, Tiklos etc. If video
presentation is not possible, your teacher will show you different pictures of
costumes and props that are used for certain dances in various places of the
country.
Choose one from the following choices:
a.Luzon
b.Visayas
c.Mindanao.
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Were you able to successfully
trace the place of origin of all the
dances presented? If so, try to
apply your learning on the next
activity. However, if you missed
some important points, ask your
teacher to help you analyze the
lesson before doing the next
activity.
Activity 2:
DRESS ME UP!
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers. Study the procedures given
and do what is asked of you to perform. This could be an individual or group activity.
196

Prepare a miniature boy and girl dancers made of cartolina and post it on the
board. Create different regional costumes in the Philippines made of Manila paper.

Dress up the miniature dancers and name the province where they come from.

In tracing where the costumes are usually worn, consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions.

Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes, expression and implements used. Justify your
answers.
Did you enjoy the activity? Did you
observe cooperation and teamwork with
members of your group while doing the
task? If you did, congratulations for
having done a great job! So you are now
ready to go to the next level. You are now
faced with a bigger challenge this time
by doing some movements. Here, you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited.
LESSON II
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
Activity 3. Listening While Playing
1. Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay. What is the time signature of the music? Is it done in duple, triple,
or quadruple meter? Why do you say so?
2. Feel the beat and rhythm of the music and do the following activities with your
eyes now open:
a. Clap your hands in time with the music.
b. Stamp your feet and do some rythmic improvisations using the same
music.
c. Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds.
d. Use body gestures or accompany it with vocal sounds in time with the
music being played.
3. For variation, repeat items 1-2 using the recorded music of Tiklos, Binislakan
and Sakuting.
197
Well done! How did you feel
while performing the activity?
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned? You will find the
answer after doing the next
activity.
Now you can do another
activity to enhance the skills
you’ve learned.
Part II- WHAT TO PROCESS
In this activity, you’ll learn the importance of rhythm in the performance of folk
dances.
Activity 4: Let’s Get Loud!
1. Your teacher will group your class into four.
2. Using any medium for sound production, you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the
regional and national folk dances. Using the douple meter as your basis in
producing the sound, divide your group into two and create different rhythmic
combinations for 16 measures to be played simultaneously with your
groupmates.
You can use any of the following that could produce sounds:
a.
b.
c.
d.
198
clapping your hands
stampping your feetproducing vocal sounds
snapping your fingers
using any materials as percussive instruments
3. This time, create rhythmic combination using the triple meter for another 16
measures.
4. Always observe the principles of accent, intensity, dynamics, and tempo in
your routine.
5. After a ten-minute rehearsal, perform your output in class. Perform the
rhythmic combination in douple meter first, then the triple meter or vice versa.
Refer to the following rubrics to be used for evaluation.
6. After the group performance, discuss in class the importance of rhythm in the
performance of folk dance.
199
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE IN RHYTHM
Weight
5
4
3
2
1
200
Musicality
Degree of Difficulty
Characterization
(Timing, Dynamics,
and Mastery)
(Complexity and
Intricacy in the Use
of Rhythmic
Patterns in Various
Meters)
(Behavior During
Performance)
40%
40%
20%
MASTERFUL: Performs
rhythmic composition with
high level of musicality while
observing proper timing,
dynamics and mastery
SKILLFUL: Creates skillful
composition of complex
and intricate rhythmic
patterns in duple, triple,
and quadruple meters.
MATURE: Demonstrates
proper characterization and
appropriate behavior in the
performance and with high
level of confidence
STRATEGIC: Performs
rhythmic compositions with a
certain level of musicality
while observing proper timing,
and mastery but with limited
ability to perfom with
dynamics
COMPETENT: Creates a
certain degree of skillful
composition of complex
rhythmic patterns in
duple, triple, and
quadruple meters.
SENSITIVE: Demonstrates
proper characterization and
appropriate behavior in the
performance and with a
certain level of confidence
ABLE: Performs rhythmic
compositions with mastery
and limited but growing ability
to perform with timing and
dynamics
PRACTITIONER: Creates a
commonly accepted
composition of simple
rhythmic patterns in
duple, triple, and
quadruple meters.
AWARE: Demonstrates
generally acceptable
characterization and proper
behavior towards the
performance and with a
certain level of confidence
APPRENTICE: Performs
srhythmic compositions with
general mastery but could
hardly adapt to varying
dynamics and timing
APPRENTICE: Creates
rhythmic patterns but
could hardly distinguish
differences among duple,
triple, and quadruple
meters
DECENTERING: Displays
inconsistent
characterization and
demonstrates low level of
confidence
NOVICE: Performs rhythmic
patterns with low or no
mastery, timing, and dynamics
NOVICE: can not create
any rhythmic pattern at all
EGOCENTRIC: Has little or
no characterization and
behaves inappropriately
towards the performance
You’re smart! Now I think
you’re ready for the next
activity which is more
challenging than the previous
one. Keep going. 
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
1. In this activity, I have learned to realize that ________________________.
2. I can create rhythmic patterns by ________________________________.
________________, and using
any_______________________________.
3. To be able to make rhythm complete, the principles of accent, intensity,
__________ and _______ should be observed.
4. I can make my life more colourful and meaningful by
being_______________ in the same manner as it can be applied to music.
5. For me, rhythm is just as important as _____________ because without it,
________________.
201
Now that you have realized the importance
of
rhythm,
you
may
now
apply
the
knowledge you gained to the next activity
which is important in the performance of
any dance.
PART IV: WHAT TO TRANSFER
Activity 6- DANCE INTO THE GROOVE!
With the same grouping that you had in Activity 4, Let’s Get Loud, perform
again the rhythmic combinations that you composed while doing the
following:
1. Based on videos you saw earlier in the Pre-assessment Activity and
Activity 1, create a dance-improvisation using any hand or body
movements that would jibe with the sound or rhytmic pattern you
created.
2. Always observe the elements of space and movement while doing the
routine.
3. Perform the whole routine of dance and sound improvisations with
proper expressions and gestures.
202
Did you enjoy the activity? You must be
sweating out now. Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing. You know
pretty well that dancing is a good exercise,
thus, you are keeping your heart healthy.
Since you have already started doing
some movements, it’s now time for you
to test your own dancing skills by doing
the next activity. Enjoy and have fun
while mastering the rudiments!
LESSON III
Basic Steps in Folk Dancing
In this lesson, you will be made familiar with the basic steps and arm
movements of the dances: “Binislakan, Sakuting, Sua-Ku-Sua, Pangalay and
Tiklos”. This will give you a clear understanding of the nature of these folk dances.
If you study the literatures of these dances found at the end of this module,
you will notice distinct steps and movements that are inherent in each dance.
The following dance terms and dance steps are basically used in Binislakan,
Sakuting, Sua-Ku-Sua, Pangalay and Tiklos. You are to master all these dance
steps which will be used later in your performance test. Study them carefully and
demonstrate the dance steps with the help of your teacher.
Padyak
-
Saludo
Arms in Lateral Position
-
Set
Bend
axis
Leap
-
to stamp or tap with one foot and the weight of the
body is on the other foot
it means to bow
both arms are in one side at shoulder level, either
right or left
a dance formation of two or more couples
to move the body or part of the body around wide
-
to spring one foot and land on the other foot
203
Study and analyze the
following table. The
information given will
be needed in your dance
performance.
Stay
focus! 
2/4, 3/4 or 4/4
No. of counts or
M per step
1M
1 ct.
1, 2 or 3 cts.
1 ct.
as many as
required
as many as
required
2/4,
2M or 4M
Touch Step
Change Step
2/4 or 3/4
2/4 or 3/4
1, 2 or 3 cts.
1M
Waltz turn
2/4 or 3/4
2M
Waltz step
2/4 or 3/4
2M
Stamping
2/4 or 3/4
1M
Dance Step
Slide (glide)
Skip
Bleking
Gallop
Mincing
Parallel Tortillier
Pivot Turn
204
Music Used
2/4 or 3/4
2/4 or 6/8
2/4 or 3/4
2/4 or 6/8
2/4 or 3/4
Step Pattern
slide, close
step and hop
heel-place, close
step and cut
step, step, step and so
on
pivot and turn heels, pivot
and turn toes
Step, ball and turn, step,
ball and turn and so on.
Touch , close
Step close Step
Execute 2 waltz steps to
make a turn
Step R; step L close to R
in rear; step R
Stamp(R) (L) and close
to supporting foot(L) (R)
Your teacher will guide you in using the following legends in the interpretation and
execution of a particular dance step.
M = Measure
F = Forward
B = Backward
R = Right
L = Left
PART I: WHAT TO KNOW
Activity 7: Tell Me!
In this part, you will be given basic steps, arm and bodily movements that are
used in Binislakan, Sua-Ku-Sua, Sakuting, Pangalay and Tiklos. Identify what is
being defined.
1. Both arms are in one side at shoulder level, either right or left.
2. To stamp or tap with one foot and the weight of the body is on the other
foot.
3. To spring one foot and land on the other foot.
4. To move the body or part of the body around wide axis.
5. A dance formation of two or more couples.
Congratulations for having
gone this far! Reaching this
part is a clear indication of
your willingness to learn
more. Now, maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances.
205
PART II : WHAT TO PROCESS
Activity 8: DANCE WITH ME!
In this part, you will be given practical applications of the basic steps, arm and
bodily movements used in Binislakan, Sakuting, Tiklos, Sua-Ku-Sua and Pangalay.
Read the instructions and make sure to follow them correctly.



206
Look for a partner and execute the rhythmic steps or dance steps that
are commonly used in Binislakan, Sakuting, Sua-Ku-Sua, Tiklos and
Pangalay.
Out of the dance steps you learned, create dance-step combinations.
The following rubric will be used to evaluate your performance.
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE IN FOLK DANCE
Weight
Choreography and
Artistic Presentation
Execution and
Mastery of Steps
40%
30%
Characterization and
Behavior During
Performance
30%
OUTSTANDING: Performs
steps with high level of
mastery while creating
several formations in the
dance floor
SKILLFUL: Demonstrates
precise and skillful
execution of the steps
with high level of
confidence
SOPHISTICATED:
Demonstrates sophisticated
characterization and
appropriate behavior
towards the dance and
groupmates
DYNAMIC: Performs steps
with mastery while creating
sufficient formations in the
dance floor
COMPETENT:
Demonstrates the steps
competently and with
confidence
EXPRESSIVE: Demonstrates
an atypical level of
characterization and
appropriate behavior
towards the dance and
groupmates
CREATIVE: Performs steps
with mastery but with
limited yet growing ability
to execute them while
creating formations in the
dance floor
PRACTITIONER:
Demonstrates general
level of coordination and
competence in the
execution of steps with
limited but growing
confidence
REALISTIC: Demonstrates
generally acceptable
characterization and proper
behavior towards the dance
and groupmates
2
FAIR: Performs steps with
general mastery but could
hardly adapt to varying
formations in the dance
floor
APPRENTICE:
Demonstrates limited
coordination and
competence in the
execution of steps with
low level of confidence
IMPROVING: Displays
inconsistent
characterization and
demonstrates generally
acceptable behavior
towards the dance and
groupmates
1
STATIC: Performs steps with
low or no mastery and is not
capable of creating
formations in the dance
floor
NOVICE: Has very low or
no coordination in
demonstrating steps; has
very low level or no
confidence at all
MECHANICAL: Has little or
no characterization and
behaves inappropriately
towards the dance and
groupmates
5
4
3
207
In your performance, what grade did
you receive? Are you satisfied with
it? If your grade is low, would you
want to improve your performance if
given
another
chance
by
your
teacher? If you got a high grade in
your performance, wouldn’t you want
to share your expertise to your fellow
classmates who are still novice? What
do you think?
The next activity will allow you and your
classmates to do peer-teaching. In here,
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
Partto
IIIremediate
: WHAT TO
REFLECT
ANDby
UNDERSTAND
group
their
weaknesses
having learning in a partner or buddy
system. Which group do you belong?
Activity 9: No Man Is An Island!
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your classmates.
1. Group yourselves into two. Group A for those who are familiar with the dance
and Group B for those who are still quite unfamilliar with the dance.
2. Those in group B should choose a partner in group A.
3. Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute.
4. Help each other in interpreting correctly the step patterns provided.
5. Your teacher will supervise you as he/she guides you in doing the activity.
6. After the given time alloted by your teacher, a performance assessment will
be given.
7. Try to provide feedback on the performance of the other groups.
208
How did you feel while doing the
activity? If you belong to Group A,
what did you feel while teaching your
classmates? Does it make you proud
having done so? If you belong to
Group B, how did you feel while you
were being taught by your classmate?
Were you a bit embarrassed or
intimidated?
In life, we need one another. We need to cooperate and help those who are
in dire need. Along the way, we also need to seek guidance from people who are
knowledgeable on certain issues. Life should be based on a give - take - process.
That way, we can create harmonious working relationship in our community. This
principle is also applied in the teaching – learning - process of a dance
performance.
To measure how effective this
activity is, you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity. Let’s see if you
have improved.
209
PART IV : WHAT TO TRANSFER
Activity 10: Watch Me!
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances. The leaders of the four groups shall draw lots and perform
what is written on the drawn sheet of paper.
1.
2.
3.
4.
Perform the dance steps correctly in figures 1 – 3 of Binislakan. (Group A)
Execute the dance steps correctly in figures 4-6 of Binislakan. (Group B)
Perform the whole dance properly with music accompaniment. (Group C)
Make a prelude of the dance Binislakan by presenting a typical scenario of
what is commonly seen in a barrio. Storyline should be related to the theme or
cultural background of the dance itself.
Note to the Learner: (Your teacher may select any of the five dances which will be
used in the performance.)
How was your dance performance?
Do you honestly believe that you
performed a lot better this time?
May Take note that performing does
not only mean dancing gracefully.
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance. The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance.
210
LESSON IV
In this lesson you will b able to identify the meaning of the gestures and
hand movements of the folk dance given.
Hand movements and gestures play a very important role in the whole
composition of a performance for they give life and meaning to the whole dance.
Just a simple movement of the hand or even a simple body gesture or facial
expression shown by the dancer would mean a lot in expressing the thoughts,
joy, or sorrow of the one performing.
You will discover the hidden meanings of certain gestures and hand
movements as you read and interpret the dance literature of folk dances later.
In this part, you will be
provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence.
Part I : WHAT TO KNOW
Activity 11- GRAND TABLEAU
This activity aims to activate your creativity in conveying proper emotions and
gestures in different situations which will later be needed in the performance of Folk
Dances.
The following instructions will be facilitated by your teacher.
211
1. Your classmates and you will be grouped into five.
2. The leaders of the five groups will be asked to draw lots. Each piece of paper
describes one particular scene to be portrayed by the group. For one minute, you
and your groupmates will conceptualize a typical scenario given these situations:
a. Fishermen pulling up their fishnet from the sea
b. Farmers harvesting bountiful grains
c. Fiesta celebration of your town
d. Wedding ceremony
e. A man courting a lady
3. After conceptualization, another 10 seconds will be given for your group to act out
the scenes that you have planned, exhibiting the proper facial expressions and
hand or bodily gestures.
4. After the activity, your teacher will discuss on the importance of exhibiting proper
expression and gestures in performing activities like dance, music, theater and
other performing arts.
Part II : WHAT TO PROCESS
Did you have fun doing the
activity? I guess so. Now, you are
tasked to apply these learned skills
into the next activity. Applying
emotions and gestures to the step
patterns that you’ve learned will be
more exciting. Good luck! Have fun

Activity 12- IT’S SHOWTIME!
This activity aims to amplify your learned skills in expressing proper emotions
in specific situations which are needed in any performance.
212
1. With the same grouping, you and your groupmates will be asked to develop a
story using the theme you have drawn earlier and perform it through movements.
Expressing the right emotions needed in the given situations should be observed.
Two to three minutes will be allotted for each group performance.
2. Bear in mind that while one group is performing, the other groups will be instructed
to note their observations.
3. An evaluation on the performances of the five groups will be conducted by you
and your groupmates by answering this question, “Which group do you think
performed best?” Why do you say so?
Part III : WHAT TO REFLECT AND UNDERSTAND
Self- Check:
Put a checkmark on the appropriate line.
To what extent did you learn the dance in terms of:
1. cultural heritage?
___________to a great extent
___________to a moderate extent
___________to a lesser extent
2. cultural values?
____________to a great extent
____________to a moderate extent
____________to a lesser extent
3. movements?
____________to a great extent
____________to a moderate extent
____________to a lesser extent
4. cultural appreciation?
____________to a great extent
____________to a moderate extent
____________to a lesser extent
213
Reflection
How is life connected to dancing? Can
you explain this?
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.
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION!
Answer the following questions.



214
What is the importance of proper expressions in folk dancing?
How are the movements shown in Binislakan, Tiklos, Sakuting, SuaKu-Sua and Pangalay reflect the kind of life people have on those
places?
Compare the expressions exhibited in the performance of folk dance of
Luzon with that of Visayas and Mindanao.
Congratulations! You’re smart to
be in this level. Check the next
activity. Try as much as you can to
study and analyze the stepprocedures
of
the
dance
literature. This part requires
patience and understanding for
you to interpret perfectly the
dance. Have patience Good luck!
LESSON 5
Interpret dance literature of Binislakan, Tiklos, Sua-ku- Sua, Pangalay and
Sakuting
It is very enriching to be able to interpret a dance literature. Since folk dances
are documented, it is always an edge to correctly interpret the text of a dance
literature. Herewith are the dance figures of the four dances. It is hoped that through
these dances, your ability to interpret dance literatures will lead for you to appreciate
other folk dances.
Note to the learner: One dance should only be taught by your teacher for the fourth
quarter. However if there is still time for you to lear one more dance or all of the five
dances, then that will be a lot better.
215
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience.
(a) Cross sticks overhead; R-hand stick over L-hand stick and
look
upward........................................................................................3M
(b) Bend trunk forward and bring down point of crossed sticks
close to
floor......................................................................................1M
I
Music A.
Face audience.
(a) Starting with R foot, take four change steps sideward right
and left alternately, raising alternately the L foot and R
foot slightly above the floor;bend trunk sideward right and
left alternately. Strike sticks sideward right and left
alternately, three times to a measure, R,L,R,L,R,L (cts. 1
and 2) to every
measure.....................................................................4M
(b) Execute mincing steps sideward right. Strike sticks
overhead four times to a Measure, R,L,R,L,R,L alternately.
Look
upward.......................................................................................2M
(c) Bend knees and twist trunk to left; strike sticks backward
R,L,R(cts.1 and 2); look backward
right..............................................1M
(d) Straighten trunk and stamp foot R,L,R (cts. 1 and 2). Strike
sticks R, L, R In front of
chest.............................................................1M
(e) Starting with L foot, repeat (a-d) to opposite direction, stamp
feet
L,R,L...........................................................................................8M
II
Music B.
Face audience.
(a) Paw (like scratching foot backward) L foot backward and at
the same timeStep R foot sideward four times, step on R
foot with springy movementsLike small leap; bend trunk
slightly sideward right; R hand bend in frontin level with
head, stick pointing toward audience; L hand down in rear,
stick pointing sideward left; look at left shoulder (cts.
1,2,1,2)........................................................................................2M
216
(b) Tap L foot in front two times; bend trunk forward that foot
and strike sticks twice In front close to the tapping foot (cts.
1,and); straighten trunk and step L close to R foot, strike
sticks once in front........................................................................1M
(c) Repeat (b) with R foot, bend trunk toward R foot.........................1M
(d) Repeat (a-c), in reverse direction and position.............................4M
(e) Face partner and repeat (a-d).......................................................8M
III
Music A.
Face audience.
(a) Jump forward and bend trunk forward. Cross sticks R
stick over L stick Below knee level...............................................1M
(b) Straighten trunk and raise gradually the sticks overhead;
sticks are still crossed. Look upward.............................................1M
(c) Repeat (a) and (b).........................................................................2M
(d) Execute mincing steps going backward; arms are in
reverse “T” position And shiver sticks sideward. Bend head
sideward right and left every two counts......................................2M
(e) Execute mincing steps turning right about, finish facing
away from audience (1M). Raise R knee and strike sticks
once under it (ct.1), straighten knee feet together and strike
sticks once in front (ct.and), raise L knee and strike sticks
once under it (ct.2).........................................................................2M
(f) Repeat (a-d), facing away from audience......................................6M
(g) Repeat (e); finish facing audience.................................................2M
IV
Music B.
Partners face each other. Boy and Girl do their movements simultaneously.
Girl’s Movements:
(a) Starting with R foot, execute eight change steps going
clockwise around Boy. Strike sticks overhead and at the back
alternatelythree times toa measure. Strike sticks at the back.
Kneel on both knees on the last count.........................................8M
(b) Do the movements of Boy below (a-c). Finish facing
audience........................................................................................8M
Boy’s Movements:
217
(a) Kneel on both knees and strike sticks on the floor at the
right side three times (cts. 1, and 2); strike sticks overhead
three times upward (1M); strike sticks at the left side on the
floor three times (1M); strike sticks overhead three times
(1M.................................................................................................4M
(b) Repeat (a); stand at the last count.................................................4M
(c) Repeat movement of Girl (a). Finish facing audience....................8M
V
Music A.
Partners face audience.
(a) Take one change step sideward right (cts. 1,2), raise L
foot above the floorin (ct.2), bend trunk sideward right
and strike sticks to sideward right threetimes to a measure
R,L,R.............................................................................................1M
(b) Repeat (a) three times more, to ideward left and sideward
right alternately. Raise R foot above the floor when doing
the change step to sideward left and strike sticks L,R,L..............3M
(c) Face partner and strike sticks on floor in front, full knee
bending R knee lower than L knee (cts. 1,ah,and,2,and)............1M
(d) Stand, straighten trunk, and strike sticks, R,L,R,L in front
(cts. As in (c) )...............................................................................1M
(e) Step R foot forward (ct.1) hop on R foot, raise L foot slightly
close to R foot, strike both sticks diagonally right head level,
with partner (ct.and). step L foot sideward (ct.2), hop on L
foot, and strike sticks diagonally left with partner (ct.and).............1M
(f) Stamp feet R,L,R, strike sticks in front R,L,R (cts.1, and 2)..........1M
(g) Repeat (a) and (b), facing audience..............................................4M
(h) Repeat (c) and (f), facing audience...............................................4M
VI
Music B.
(a) Starting with R foot, execute two change steps going
forward to meet partner at center finish in one line. Girl in
front of Boy,facing audience. Strike sticks three times R,L
R overhead (look upward) (cts. 1,and 2).......................................2M
(b) Starting with R foot, execute six change steps right and
left alternately,Going around clockwise. Strike sticks as in
(a). Finish in a circle facing center.................................................6M
(c) Starting with R foot, take four change steps going toward
218
center.Strike sticks as in (b)...........................................................4M
(d) Repeat (c), going backward; finish facing right..............................4M
Saludo
Music Finale.
(a) Execute mincing steps going counter clockwise; finish
in line formationfacing audience as in Figure I. Arms in
reverse “T” position and shake sticks sideward; bend
head sideward right and left alternately every two
counts............................................................................................3M
(b) Stamp feet R,L,R and strike sticks overhead R,L,R (cts.1
,and 2). Look
upward...........................................................................................1M
(c) Mincing steps, turning right slowly; finish facing audience;
sticks are still crossed overhead and looking upward..................3M
(d) Feet together, bend trunk slowly forward, bringing down
the crossed sticks below knee. Sticks touch floor in the last
count..............................................................................................1M
219
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A.
Partners face audience. Throughout this figure, the knees are slightly bent
and turned outward. Arms extended sideward with a fan in each hand.
(a) Take 32 walking steps forward turning the hand from the
wrist down and up alternately on every count (figure of
eight). Bend the head sideward rightand left alternately in
time with the hand movement................................................................ 8M
II
Music B
Partners face audience.
(a) Place R heel forward, arms sideward (cts.1,2), take
six steps in place, move hands as in Figure I (cts. 3, 4; 1
2, 3,4).......................................................................................... 2M
(b) Place R heel forward two times (cts. 1, 2, 3, 4).............................1M
(c) Take four steps turning right about in place, arms and
hand movements as in (a).............................................................1M
(d) Repeat all (a-c). Finish the turn facing partner..............................4M
Music C
Partners face each other.
(a) With arms in fourth position, L arm high, step R forward
and raise L foot in rear, turning the hands down (ct.1),
step L in place, turning hands up(ct.2), step R backward
and raise L foot forward, moving R arm to 2nd position
and turning hands down (ct.3), step L foot in place turning
hands up (ct.4).............................................................................1M
(b) Take four walking steps forward to be in line with partner
by R shoulders, arms and hand movements as in Figure I
.(cts. 1, 2, 3, 4)..............................................................................1M
(c) Repeat (a) and (b). Finish in partner’s place............................... 2M
(d) Turn left about and repeat (a-c). Finish in proper places
(Partners are by L shoulders in (b)...............................................4M
IV
Music A
Partners face each other
Arm Position
:
220
Place both arms in front at waist level. Wrist of R hand is
up, finger tips pointing downward, while the L hand in
reverse position. R hand is in front of L.
Arm Movement
:
With wrist leading, raise R hand up and pull L hand down,
palms in (ct. 1), flip hands to reverse position and
movement (ct.2). Repeat same (ct.2)
(a) Step R across L in front (ct.1), step L sideward (ct.2).
Repeat same (cts. 3, 4).................................................................1M
(b) Repeat (a) three times more moving in a circle
clockwise, always facing partner. Boy finishes facing
audience while Girl finishes behind the Boy..................................3M
(c) Girl: repeat (a) and (b) moving clockwise while facing
the line of direction Boy: repeat (a) and (b) in place......................4M
V
Music C
Partners face each other.
(a) Take three walking steps obliquely forward left (cts.
1,2,3), turn right about pivoting on the ball of R foot
and raising L foot across the R knee in rear (ct.4).
From 2nd position, move the arms downward-forward
(as if scooping). Finish with the palms up (cts. 1,2),
turn both hands toward chest inward. Continue the turn
and end up with arms forward palms facing front, finger
tips in (ct.3), pull hands outward away from each other
(ct.4)...............................................................................................1M
(b) Repeat (a) starting with the L foot turning left about......................1M
(c) Repeat (a) and (b) two times more................................................4M
(d) Boy:
take seven walking steps obliquely forward
left, arms and hands as in Figure I (cts. 1,2,3,4; 1,2,3),
point L foot sideward (ct.4).
Girl: take four steps turning right about in place (cts. 1
2,3,4) and three steps in place (cts. 1,2,3), point L foot
sideward (ct.4). Hand movement is the same as that of Boy........2M
NOTE: Partners are now in one line facing front, Girl at partner’s right side.
VI
Music A.
(a) Step L across R in front (ct.1), step R sideward (ct.2),
arm and hand movement as in Figure I. Repeat same
two times more (cts.3,4; 1,2), step L sideward (ct.3),
point R foot sideward (ct.4)...........................................................2M
(b) Repeat (a) starting with the R foot moving to the
opposite direction.........................................................................2M
(c) Repeat (a) and (b). Close feet together on the last count.............4M
221
VII
Music B.
Girl turns left about so that R shoulder is toward partner. Extend R arms
sideward, hand of Girl on top of boy’s hand, L arms are raised overhead.
(a) Starting with the R foot, take sixteen walking steps
forward moving half-way clockwise. Finish in partner’s
place..............................................................................................4M
(b) Turn about and repeat (a) moving counter clockwis
with the Boy following the Girl. Reverse position of hands.
Finish in proper places..................................................................4M
VIII
Music B
Partners face each other.
(a) Step R forward and move arms to 2nd position (ct.1),
raise L foot close to the R knee. Raise arms overhead
and flip hands down (ct.2), cross turn right about in
place. R arm up. Shake L hand obliquely sidewarddownward (cts. 3,4; 1,2,3,4).........................................................2M
(b) Repeat (a) with the L foot. Reverse position of arms...................2M
(c) Repeat (a) and (b)........................................................................4M
IX
Partners face each other.
(a) Take four walking steps to Girl’s place. Hands as in
Figure VII (d)................................................................................1M
(b) Place R heel forward. Bend trunk forward and place
R and L cheek close to that of partner alternately four
times (cts. 1,2,3,4). Fans are held close to waist........................1M
(c) Take four walking steps to the center...........................................1M
(d) Repeat (b).....................................................................................1M
(e) With fans held sideward-downward, palms down,
stamp R foot five times in place(cts. 1, and 2, and 3).
Flip fans and strike the thighs with the fans (ct.and),
Raise arm sideward, palm down (ct. 4).........................................1M
(f) Take four steps turning right in place, arms obliquely
sideward-downward.......................................................................1M
(g) Repeat (e) and (f)..........................................................................2M
(h) Take eight steps turning right. Finish facing front..........................2M
X
Music B
222
(a) Starting with the R foot, take four walking steps
forward to meet partner
at center, arms as in Figure I.........................................................1M
(b) Place R heel forward. Girl leans back with hands
close to hips, palms facing front. Move head sideward
left and right alternately four times. Boy taps R
and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts. 1,2,3,4)..............1M
(c) Take four walking steps to Boy’s place. Boy moves
backward while Girl moves forward. Arms as in (d)......................1M
(d) Repeat (c). This time the Girl does the choppy
movement and the Boy, the head movement................................1M
(e) Take four walking steps to center. Boy moves
forward while the Girl moves backward.........................................1M
(f) Repeat (e)......................................................................................1M
(g) Stamp R foot five times in place (cts. 1, and 2,
and 3), raise R foot and hit the thighs with both
fans (ct.and), flip fans outward (ct.4)............................................1M
(h) Three-step turn right in place (cts.1,2,3), close
feet together (ct.4). arms down at sides, tips of
fans facing sideward-outward........................................................1M
(i) Repeat (g) and (f)..........................................................................2M
(j) Starting with the R foot, take four walking steps
(Boy moving forward, Girl moving backward).
Arms in reverse “T” position, fans facing front (cts
1,2,3,4). Sway fans in a figure of eight for every count................1M
(k) Boy bends trunk forward while Girl leans backward.
Move the heads (Boy to right side, Girl to left side)
(ct.1), reverse the direction (ct.2), repeat the same
(cts.3,4)..........................................................................................1M
(l) Repeat (j) and (k)...........................................................................2M
(m)Take four steps to face front, arms as in (f)...................................1M
(n) Two steps to turn right in place and pause....................................1M
FINALE
(a) Step L sideward (cts. 1,2), step R across L in front,
knees are slightly bent (cts. 3,4). Twist trunk to the
right, R arm obliquely downward-sideward,
L arm obliquely forward-upward shaking fans (cts.
1,2,3,4)..........................................................................................2M
Dancers sing as they perform the dance. The natives often repeat the dance as
many times as they like or until they are made to stop. The song goes this way:
223
Music A.
Sua-ko; Sua-ko, yampa tia num
Sua-ko; Sua-ko, yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B.
Bang ma-ka tum-tum panon
Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C.
Kan ka pilaran, cambia sara-ran
Di ka dua han, di ka imanan
Ah magpe-pin-tas, ha-la-man
Ah magpe-pin-tas, da koman
My little orange tree I had planted,
With its six lovely green leaves,
Reminds me of her,
Thus causing my heart to beat.
That loveliest beauty among the many,
That pretty one I cannot change,
Walking hurriedly along the street
Hand in hand with me-I
To that lovely beauty I lost my heart.
Source of Lyrics:
Philippine National Dances
Mrs. Francisca Reyes Tolentino
Literal Translation of the Song by Lt. Alpad Arasad
Source of Lyrics:
Philippine National Dances
Mrs. Francisca Reyes Tolentino
Literal Translation of the Song by Lt. Alpad Arasad
PANGALAY
Philippine Folk Dances
Francisca Reyes Aquino
224
Entrance
Starting with R foot, walk to center of the room. Both arms down at
sides palms down fingers together and pointed outward. Take 1 count for each step.
4M or 8M
I
Face audience
(a) Slide R foot forward with only toes touching the floor (ct. 1), put
weight on same foot at the end of the slide (ct.2). Knees are
slightly bent and turned outward. R hand in front at eye level, L
hand down in rear, fingers together and hyper-extended.
Turn R hand (from wrist) counterclockwise and turn L hand
(from wrist) clockwise simultaneously. ……………..……….…….…. 1 M
(b) Repeat (a), seven more times, L and R foot alternately. Do the
same hand movements, L and R alternately in front. ..…………… 7 M
(c) Repeat (a) and (b), moving backward to starting place. ..….……… 8M
II
R shoulders towards audience.
(a) Repeat slide step foot movement as in figure I, R, and L
alternately, eight times, moving clockwise. Arms in lateral
position, turning hands as in figure I, right and left
Sideward alternately every two counts……………………….……….. 8M
(b) Turn right about, repeat (a), moving backward to
starting place. ……………………………….…………………….…….. 8M
III
Face audience.
(a) Repeat slide-step movement as in figure I going obliquely
forward right, R and L alternately, eight times. Start with
arms down at sides, palms facing front, finger tips pointing
downward, raise arms gradually upward to head level
(4cts.), turn wrist outward so that finger tips point
upward, palms facing front, lower arms gradually
downward to starting position (4cts.) Reverse
position of arms every four counts. …………………………….……… 8M
(b) Turn right about. Repeat (a), going to starting place. ……..…………. 8M
(c) Repeat (a) and (b), going obliquely forward left in (a) …….…..…….. 8M
IV
Face audience.
225
(a) Starting with R foot, take eight steps turning right (clockwise)
in place (1 ct. for each step). Arms bent forward at
shoulder level, four fingers together and hyper-extended,
thumbs sticking up. Execute a figure of eight movement
with the hands every two counts, gradually stretching the
arms sideward at shoulder level. ……………………….……………... 4M
(b) Repeat (a), turning counterclockwise. Repeat same
hand movement gradually bending elbows to forward
bent position. ……………………………………………………….…… 4M
V
Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct.1),
at the end of the slide straighten toes and put weight on
same foot (ct.2). Raise hands in front at the eye level, R
hand on top with palm facing the front, fingers together; L
hand down, palm facing in (self)for two counts. …….……………… 1M
(b) Repeat (a), turning counterclockwise. Reverse position of
the hands every two counts, L and R hand on top alternately,
with palms facing self (when hand is down), and palms
facing front (when hand is on top). The hand that goes down
passes in front. ……..………………………..……...………………….. 7M
(c) Turn right about, repeat (a), going to starting place. …..…..……….. 8M
VI
R shoulder towards audience.
(a) Execute eight parallel tortillier steps sideward right. Start with
toes pointing sideward first, taking one count for each
movement. Arms in lateral position sideward right, palms facing
out, finger tips pointing upward (ct.1), flex wrist upward so
that finger tips point downward (ct.2).Reverse position of
the finger tips every count (or every two counts if
desired). ……………………………………………………..…….……. 4M
(b) Repeat (a), moving sideward left. Arms in lateral position,
sideward left, doing same movements as in (a). ………..…………... 4M
(c) Face audience. Repeat (a) and (b). ………………....……………….. 8M
VII
R shoulder toward audience.
226
(a) With knees slightly bent, execute shuffling steps forward, moving
clockwise (counting 1, and 2, and for every measure). Bend
arms upward, elbows close to waist, hands about two
inches over shoulders, palms down. Move fingers (except thumbs)
up and down alternately every count. …………….……...…….…..… 8M
(b) Turn right about, repeat (a), moving counterclockwise..…….……… 8M
Saludo
Face audience.
Place right foot in front, bend body slightly forward, head bent forward,
cross hands at wrists down in front, R hand over L, palms down. ……..……….. 2M
Tiklos
Philippine Folk Dances
Francisca Reyes Aquino
I
Music A.
Partners face front. Throughout this figure Girl holds her skirt, Boy places
hands on waist.
(a) Starting with R foot, take two heel and toe change step forward. ……..4M
(b) Execute change step sideward, R and L. ……………………………..….2M
(c) Starting with R foot, take four steps backward to proper places……......4M
(d) Repeat
all
(a-d)..…………………….......…………………….……….8M
II
Music B
Partners face front. The same hand position as in figure I.
(a) Cut L backward (ct.1), cut R forward (ct.2). Repeat all (cts. 1,2) …….....2M
(b) Take three gallop steps sideward right (cts.1, ah, 2, ah, 1, ah)
step right foot sideward(ct. 2) …………………………………………....….2M
(c) Repeat (a), starting with R cut backward. …………………………….…...2M
(d) Repeat (b), going sideward left. ……………………………….….…..……2M
(e) Repeat all (a-d). ………………………………………………………………8M
III
Music A
227
Partners face each other. Throughout this figure clap hands in front of chest in
this manner:
Clap three times (cts. 1, and 2,), clap twice (cts. 1, 2). Do this for 16
measures.
(a) Execute change step sideward, starting with R foot (cts. 1, and,
2) hop on R and raise LKnee in front swinging L foot obliquely
right backward across R knee in froint (ct.1), hop on R and
swing L foot obliquely left forward (ct.2). ………………………….………2M
(b) Repeat (a) starting with the L foot. …………………..………………..……2M
(c) Execute a three step-turn right in place (cts. 1, and 2). Point L in
front (ct. 1), point the same foot close to R (ct. 2). ………………………..2M
(d) Repeat (c), starting with L foot and turning left. ………………………......2M
(e) Repeat all (a-d). ………………………………………………..……….…….8M
IV
Music B
Partners face each other. The same position of hands as in figure 1.
(a) Take two touch step in front (R , L). …………………………….………….2M
(b) Jump to cross R in front of L (ct.1), jump to cross l in front of R
(ct. 2), jump to cross Rin front of L (ct.1) jump to
close R to L (ct.2). ...………………………………………………………….2M
(c) Repeat (a) and (b), starting with L foot. ……………………..………...…...4M
(d) Repeat all (a-c). ………………………………….........………...……..…….8M
SAKUTING
Philippine Folk Dances
Francisca Reyes Aquino
Entrance
a. Partners walk side by side in rhythm with the music with Head
Pair leading the group into formation. Finish facing partner. R
arm bent in front holding stick upward; L hand holding stick
placed behind the waist. ……………………………………………………... 16M
FIGURE I
Music A. Partners face each other.
228
a. Head Pair: Face the set. Weave in and out of the set and
continue until back to original places. Strike sticks R over L
on ct. 1; L over R on ct. and; R over L on ct. 2. Strike starting
L over on next measure. Pairs 2, 3 and 4 : perform 32
cut-step-step in place alternately starting with L…………………….…. 32M
FIGURE II
Music B. Partners face each other.
a. Bend downward. Strike sticks 3x R and L, L over R, R over L. ………..2M
Straighten trunk. Strike sticks in front and waist level 3x L
over R, R over L and Lover R.
b. Waltz step R . Waltz L . Strike sticks 3x to a measure. ………….. 2M
c. Leap R placing L heel in front (ct. 1) to be by L shoulders
with partner; hold position (cts. 2, 3). Strike L sticks with
Partner (ct. 1); strike own sticks 2x (cts. 2, 3). …………………………. 1M
d. Leap on L and place R heel in front (ct. 1) to be in
back to back position with partner; hold position (cts. 2,
3). Strike R sticks with partner (ct. 1); strike own sticks 2x (cts. 2, 3). .. 1M
e. Step R and place L in front (ct. 1) to be by L shoulders
with partner (ct. 1); hold position (cts. 2, 3) Strike L sticks
with partner (ct. 1); strike own sticks 2x (cts. 2, 3).
…….…………………..1M
f. Waltz step to proper places. Strike own sticks R over L,
L over R, R over L. ……………………………………………………………..
1M
g. Repeat (a) to (f) starting L and standing by L shoulders.
Start all strikes of sticks with L over R. ……………..………………….……..
8M
h. Repeat
all
(a-g)..
……………………………………………..……………...….16M
FIGURE III
Music C. Partners face each other.
a. 2 waltz steps R, L moving diagonally forward. Finish
in one line with partner by L to L shoulders. Strike
sticks
3x
to
a
………………………………………..…………….…2M
b. Raise R leg in front (ct. 1); lower leg (cts. 2, 3) Strike
own sticks under raised leg (ct.1); strike sticks R over
L
and
L
over
R
3).….…………………………………………….……..1M
c. Face partner. Strike R sticks with partner (ct. 1); strike
229
measure.
(cts.
2,
d.
e.
f.
g.
h.
own
sticks
R
over
L
and
L
over
R
(ct.
2,
3)
……………………………….…...1M
Raise L leg in front (ct. 1); lower leg (cts. 2, 3). Strike
own sticks under (ct. 1); strike sticks R over L
and
L
over
R
(cts.
2,
3).
………………………………………….……….…….1M
Face partner. Strike R sticks with partner (ct. 1); strike
own
sticks
L
over
R
and
R
over
L
(ct.
2,
3)
……………………………….…...1M
2 waltz steps to proper places. Strike sticks 3x to a
measure. ………………………………………………………………………….
2M
Repeat (a-f) starting L and standing by R to R
shoulders with partner. ………………………………………………………….
8M
Repeat
all
(a-g).
……………….……………………………..…………………16M
FIGURE IV
Music D. Partners face each other.
a. Repeat (a) of FIGURE I. Finish by moving 2 small
steps
to get close to partner at center on
last
2
cts.
Of
M.
………………………….
…………………...……………….2M
b. Waltz step R
. Hold sticks parallel to each other;
swing own sticks together from R side and strike
both sticks with partner (ct.1); strike own sticks R
over L and L over R (cts. 2, 3). …………………………………………………
1M
c. Waltz step L . Swing own sticks from the L side
and strike partner’s sticks together (ct. 1); strike
own
sticks
2x
(cts.
2,
3).
…………………………………………………………1M
d. With a spring, step R
placing the L heel in
front to be in one line with partner at center by L
shoulders; trunk erect (cts. 2, 3). Open arms at
the sides without strining sticks (ct. 1); strike own
sticks
2x
with
trunk
erect
(cts.
2,
3).
……………………………………..……..1M
e. Repet (d) of FIGURE II. …………………………………………………… ….
2M
f. Repeat (d) of this FIGURE stepping R . …………………………………….
1M
g. Repeat (f) of FIGURE II starting with L and standing
R
shoulders.
………………………………………………………………...…...8M
230
h. Repeat
all
…………………………………………………....……..…….16M
(a-g).
FIGURE V
Music E. Partners face each other.
a. Repeat (a) of FIGURE III. …………………………………………………………..
2M
b. Waltz turn R (2M) moving obliquely forward; finish
facing each other in a single line at center.
Strike sticks together 3x to a measure. ……………………………… …………..
2M
c. Stand . . Strike R stick once with partner (ct. 1);
strike own sticks together 2x (cts. 2, 3). ………………………………………….
.
1M
d. 2 waltz steps to partner’s place; finish facing
each other. Strike sticks together 3x to a measure. ……………………………..
2M
e. Repeat (a) to (d) and finish in proper places. Strike
L sticks together with partner. ……………………………………………………..
8M
f. Repeat
all
(a-c).
……………………………………………………………………..16M
FIGURE VI
Music F.
New formation
X
X
X
X
Audience
1
2
3
4
O
O
O
O
6”
One set of dancers
Pairs 1 and 2 form a square; Pair 3 and 4 do the same.
All face the center of each square.
Simultaneous movements of Girls and Boys.
Girls:
a. 2 change steps to center and finish by R shoulders.
Strike own sticks together 3x to a measure; R over L,
231
L over R, R over L. ..........................................................................................
2M
b. 2 change steps R, L in place. Strike sticks together
with opposite (ct.1); strike own sticks 2x (cts. and, 2). ....................................
2M
Repeat movement.
c. Turn R about to be by L shoulders; repeat (b). ...............................................
2M
Boys: 8 change steps R, L alternately . . ..........................................................
8M
.
d. Girls perform Boy’s Part while Boys perform Girls part. ..................................
8M
e. New Formtion:
Boy 1 to Face Girl 2
X
1
O
Boy 3 to Face Girl 4
X
2
O
Boy 2 to Face Girl 1
X
3
O
Boy 4 to Face Girl 3
X
4
O
All repeat (a) to (d). ..........................................................................................
8M
f. All Face partners and repeat (a-d) with partnerts. ...........................................
8M
FIGURE VII
Music G. Partners face each other.
All stand in place.
a. Bend trunk down. Strike own stick 3x to a measure
on floor or close to the ground. ……………….………………………………….
1M
b. Straighten
trunk.
Strike
sticks
in
front
at
waist
level.
……………………………1M
c. Raise sticks overhead. Strike sticks overhead. …………………………………
1M
d. Place hands behind waist. Strike sticks from behind…………………………..
1M
e. Repeat
(a-d)
3x
more.
………………………………………………………..…….12M
f. Face
about,
away
from
partner
and
repeat
all
(a-e).
……………………………16M
232
FIGURE VIII
Music H. Circle formation facing clockwise.
a. 16 waltz steps Strike own sticks 3x to a measure. ……………………………..
16M
b. Turn R about to face and repeat (a) to finish
in a double circle formation with Boys inside
and Girl partners outside. …………………………………………………………
16M
FIGURE VIII
Music H. Double circle formation with Boys and Girls outside.
Girls hold their 2 sticks horizontally and parallel to each other; R stick at head level
and L stick at chest level.
a. Boys face their partners while Girls hold their
stick firmly in front. Boy- strike sticks across Girl’s
sticks R hand up and L hand low 3x to a measure
(cts. 1, and, 2). ……………………………………………………………………….
1M
b. Girl – 3 step turn R . still holding sticks as in (a). ……………………………
1M
.
Boy 3 step turn R moving to face the next Girl at his right.
c. Repeat (a). ……………………………………………………………………………
1M
d. Repeat (b). ……………………………………………………………………………
1M
e. Repeat movements (a) and (b); partners meet each other; exit.
………..…….12M
.
233
Were you able to understand the dance
literature? Can you interpret each stepprocedure
correctly?
If
so,
congratulations! Just in case you have
difficulty
interpreting
the
dance
literature, please feel free to ask your
teacher for clarification before going
to the next activity. Now, let us check
your understanding about the dance
literature that you have just studied.
Let us see if you can apply the
knowledge you learned through the next
activity.
Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
This activity aims to assess your mastery of the basic steps in folk dancing, its
step pattern and counting.
Complete the following table by filling in the correct step pattern and counting
of the given basic steps:
Basic Step
Heel and toe polka
Step Pattern
Place heel, touch toe,
step, close, step
Change Step
Touch Step
Mincing
Sua-Sua Step
Waltz turn
234
Number of Counts in a
Measure
Slide-cut-hop
Step (R),Point (L) -
1, 2, 3
1,2,3
1,2.3
1, 2
Execute 2 waltz steps to
Cut-step-step
Gallop Step
make a turn
Cut (displace)L with R foot
1, 2
Did you get a perfect score? If
so,
well
done!
You
may
now
proceed to the next part which
will surely keep you engaged to a
more exciting activity. Goodluck!
Part III- WHAT TO REFLECT AND UNDERSTAND
Activity 15: OPEN-ENDED STATEMENTS
This activity aims to assess your mastery of the essential understanding by
completing these unfinished statements.
1. I learned
that________________________________________________________.
2. Folk dance costumes tell about the
______________________________________.
3. Folk dances differ in _______________ because
___________________________.
4. ______________ can be a way to enhance an
individual’s____________________.
5. I feel I am _____________________________________ in performing folk
dances.
6. Folk dances are beneficial to one’s health because
__________________________.
Self- Check:
235
Draw a checkmark in the appropriate line that corresponds to your answer.
To what extent did you…….
1. learn the dance steps?
___________to a great extent
___________to a moderate extent
___________to a lesser extent
2. execute correctly the dance step combinations?
____________to a great extent
____________to a moderate extent
____________to a lesser extent
3. memorize the dance?
____________to a great extent
____________to a moderate extent
____________to a lesser extent
4. express your emotions and feelings on the dance?
____________to a great extent
____________to a moderate extent
____________to lesser extent
Self-check
In your activity notebook, copy the numbered statements and put a
checkmark on the space before each number that best describe your performance.
___1. I enjoyed executing the dance steps.
___2. I danced gracefully.
___3. I followed the instructions given by the teacher.
___4. I cooperated well with the group.
___5. I performed the basic movements correctly.
Reflection
Write your answer to these questions in your activity notebook
1. Have you ever thought of expressing your feelings through the dance you
performed in school? Explain.
2. Do you find dancing an effective way of expressing yourself? Justify.
236
You’re Great! Being able to reach this far is a
clear indication of your passion to learn. You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole.
Part IV- WHAT TO TRANSFER
Activity 16: CULTURAL SHOWCASE
In this phase, you will perform your folk dance to the class and it will be
rated according to these criteria: Choreography and Artistry, execution, and Mastery
of the steps.) Change criteria for Mastery, Performance, Staging.
1. Go to the school gym for your culminating performance. If you don’t have a gym,
set the classroom in a manner that can provide enough space for your
performances.
2. Present your folk dance to the class (costume, props, accessories, and make-up
are highly encouraged).
3. Assign somebody from your group to take charge of documenting your
performance using video camera or any similar equipment or manner you
preference.
4. Your teacher will sequence your performances drawing of lots.
5. Guest observers may be invited to witness the activity, including your parents,
friends or relatives.
237
6. Provide feedback on the performance of other groups.
Well done! You are now about
to reach the finish line. I know
how
tired
you
must
be.
However, there is one more
activity
that
accomplish
you
before
need
to
finishing
the race. This time let’s check
your creativity and artistry by
doing the next activity below.
I know that you can make it! 
Carry on!
Activity 17- CREATIVE DOCUMENTARY
1. This time come up with a creative documentary from participating in folk
dancing. You may consider doing a portfolio, a narrative or a visual
presentation of the experiences, insights and benefits you gained.
2. Invite one member of your family to the class and have him/her share his/her
experiences as a folk dance performer when he/she was still young and how
folk dancing created impact on family solidarity and wellness in his/her
lifestyle.
238
Wow! You did it well! Finishing all the
activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well. After this phase
what do you intend to do to enrich your
gained. Would’nt you like to share what
you
learned
to
your
friends,
family
members or to your community? The next
activity will allow you to promote folk
dancing as a form of physical activity. It’s
a good journey after all! 
LESSON VI
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family.
An activity becomes more meaningful when done and participated in by the
whole family. The support given upon watching and applauding a family member
boosts ones confidence and self esteem. It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres. Somehow, you’ll be learning different culture through folk
dances while spending leisure hours together. Furthermore, these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace, poise, and even help in maintaining good health for you and your
family members.
239
Suggested Activities:
1. Together with your family, you may join in a field demonstration during your
campus’ Foundation Day or in a stage performance/street dancing during
your town fiesta.
2. You and your siblings can also join contests on Philippine folk dances.
3. Your family can go to theaters or museums to watch folk dance festivals and
presentations.
SUMMARY/SYNTHESIS/GENERALIZATION:
Now that you are done reading this learning material, I’m pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin, historical
background, dance steps and step patterns, dance interpretations and performance.
You discovered that just like any other sports or a game, dancing is also a physical
activity that can promote lifelong fitness and wellness. It is a good source of
exercise that could help develop grace and poise. It can even help in maintaining
good health as it highlights health-related skills such as cardio-vascular endurance,
flexibility and strength. Surely, this module has enriched your mind to explore the
wonders of folk dancing.
In lesson 1, you have learned the significance of the origins and locations of folk
dances by identifying the performers’ costumes and music. Here, you realized that
just by merely looking at the costumes and props and listening to the music would
tell you right away about the point of origin of a particular dance. You also learned
the effects of acculturation brought about by the trade and settlement from our
neighboring countries like China, Malaysia, Indonesia, Burma, Cambodia, Thailand
and Japan.
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan,
Sakuting, Sua-Ku-Sua, Pangalay and Tiklos. You discovered that rhythm plays an
important role in the performance of the dance. Feeling the beat and rhythm of the
music is a motivating factor for them to perform well.
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan, Tiklos, Sakuting, Sua-Ku-Sua and Pangalay. It
enabled you to enhance your dancing skill and motivated you to show and share the
steps you’ve learned. Thus, you realized that mastering the basic dance steps could
be used in the interpretation of the dance literature to a large extent.
Moreover, Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular
dance. It enabled you to use your creativity in conveying proper emotions and
gestures in different situations as found in the different settings needed in the given
dances.
Meanwhile, Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan, Sakuting, Sua-Ku-Sua, Pangalay and
240
Tiklos. Those insights enabled you to perform the dances appropriately and
gracefully. In this part, you found out that the correct interpretation of the dance
depends on the mastery and accuracy of your understanding of the elements of
dance such as dance steps, step patterns and counting.
Finally, Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the
given dances with your family members during town fiestas and school foundation
days. It also gave you time to bond with your family members by watching
culminating activities/cultural shows which gave you a chance to develop family
solidarity as well as family wellness.
We hope that through this module, you have become more acquainted with the
significance of folk dances, and somehow you could use the knowledge you learned
from this module not only during dance performances but also in maintaining a well
and fit body and a sustainable life.
GLOSSARY OF TERMS
Accent
-
Acculturation
-
Culture
-
Dynamics
-
Folk dance
-
emphasis on a beat, usually but not always, the first beat
of
the measure
a process in which members of one cultural group adopt
the beliefs and behaviors of another group
the totality of socially transmitted behavior patterns, arts,
beliefs, institutions, and all other products of human work
and thought
an interactive system or process, especially one involving
competing or conflicting forces
a form of dance developed by a group of people that
reflects the traditional life of the people of a certain
country
Folk dancing
–
Implements
Improvisation
Intensity
accompaniment;
-
Lifelong Fitness –
Tempo
Traditions
-
Wellness
of
241
-
or region
a great exercise and a fun recreational activity for people
of all ages
a device used in the performance of a task
created extemporaneously, without planning.
in music, the loudness and softness of an
in fitness, the degree of vigor or the amount of effort
expended during an activity
the condition of being fit and healthy throughout life.
the rate of speed from fast to slow
a mode of thought or behavior followed by a group people
continuously from generation to generation; a custom or
usage
a way of life purposely designed to enjoy the highest level
health and well-being possible, including nutrition, weight
control, avoiding substance abuse, being physically
fit
and
leading an active life, controlling stress, developing good
relationships with others, living with high values and
ethics,
and attending to spirituality
References
BOOKS:
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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
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The
History
of
Filipino
Folk
Dance
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How.com http://www.ehow.com/about_6558571_history-filipino-folkdance.html#ixzz27RKkEfja November 28, 2012
The
History
of
Filipino
Folk
Dance
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eHow.com http://www.ehow.com/about_6558571_history-filipino-folkdance.html#ixzz27RK6wqx1 November 28, 2012
The
History
of
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Folk
Dance
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eHow.com http://www.ehow.com/about_6558571_history-filipino-folkdance.html#ixzz27RKzSk8d November 28, 2012
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W18 November 28, 2012
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