MODULE 1

Understanding the Philippine Traditional Dance History

I. Overview

This module focuses on Philippine Traditional Dances, depicting the diverse cultural dances
originating from the Philippines. These dances have deep roots in Filipino history, traditions, and
beliefs, reflecting the country's rich cultural heritage. Traditional dances have been passed down
from generation to generation, reflecting the people's everyday activities. These dances are vibrant
and colorful, weaving together the archipelago's rich history. To better understand the various groups
and ethnicities, we have organized the Philippine traditional dances into five major categories based
on their classifications.
This module is designed to be completed over two days, with 90% of the students doing the
work in groups. The remaining 10% will be dedicated to class or individual discussions, which can
be conducted in various ways depending on the availability of internet connectivity.

II. Desired Learning Outcomes

Upon completion of this module, students are expected to achieve the following learning outcomes:
a. differentiate the categories and understand the historical context behind each dance.
b. analyze and describe each dance category's key elements, movements, and characteristics
based on the examples provided.
c. develop a deeper appreciation for the cultural heritage of the Philippines by understanding
the significance of traditional dances and the importance of preserving these practices for
future generations.

III. Learning Content and Tasks

This module emphasizes the five major categories of the Philippine Traditional Dance and
its examples for an in-depth understanding of each group/ethnicity. Gabao, Larry A. stipulated that
dance is the expression of oneself through movement. At the same time, traditional/folk dance is one
of the vessels for self-expression through patterned activities (Kostic & Uzunovic, 2012). Dance is
performed slightly differently from one region to the other. But it’s considered the uniting force for
the Filipino people.
Let us start by understanding the five major categories of Philippine Traditional Dance and
its examples information was taken from Dr. Vergara, a Revised LET material in Phil Folk and
Ethnic Dances.

Philippine Traditional/Folk and Ethnic Dances

Five Major Classifications of Dances:

1. The dances of the cordillera groups
2. Western-influenced dances
3. Dances of the Muslim groups
4. Dances of the tribal or lesser-known groups
5. Dances in the countryside.

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 1. THE DANCES OF THE CORDILLERA GROUP

The ethnic dances of the Cordillera group in the Philippines encompass various regions,
specifically the Bontocs, Ifugao, Benguet, Apayao, Kalinga, Itneg, Ilonggot, and Gaddang
(collectively known as BIBAKIIG). These dances serve as a representation of their distinctive
traditions and are rooted in their everyday life experiences.
Utilizing traditional musical instruments such as metal gongs, specifically the ganza, and
additional percussive instruments, the Cordillera group accompanies their dances during significant
occasions like rituals, festivities, and social gatherings. These instruments contribute to the rhythmic
depth and cultural significance of their performances.

Example of dances among the cordillera groups

Ethnolinguistic Title dance Dance description

groups

1. Pattong • A war dance Depicting a mock fight between two

• Bontoc warriors.
2. Balangbang • A victory dance performed after headhunting.
3. Takik/ • A courtship and wedding dance.
Dongadong
1. Talip • A courtship dance of the Ifugao, where a man lures a
woman with a blanket to be placed on the woman's
shoulder.
2. Intaneg • A wedding dance among the Ifugao.
3. Bumayah • A festival dance among the Ifugao for thanksgiving in
• Ifugao their gods.
4. Monghimong • A dance among the Ifugao where men turn up in a
mass at the burial of a murdered tribe member.
5. Dinuya • A festival from Lagawe Ifugao performed by men
and women during significant feasts.
1. Bendean • A festival and victory dance
2. Tarektek • A courtship dance where two female Tarektek
(woodpeckers) try to get the attention of the male
• Benguet Tarektek by brandishing their blankets over each
other to show their affection.
3. Chumnu • A female dance performed during celebrations of
tribal victory and bountiful harvest, an Apayao dance
imitating the thigh bird.
• Apayao 1. Turayan • An Apayao dance imitating the high-flying bird.
2. Say- Yam • A major feast is held to celebrate the taking of an
enemy's head.
1. Pattong • A dance of revenge vowed for the death of the slain
warrior.
2. Salip • A courtship dance where the rooster-like male
• Kalinga swoops around the maiden.

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 3. Ragragsakan • A work-dance where they carry baskets on their
heads.
4. Takiling • A victory dance after a successful headhunting.
5. Tadjok • Kalinga's most famous village dance.
6. Idaw • A mock battle dance ensues between two tribes.
7. Lumagan • A dance performed at Kalinga festivals to celebrate
Thanksgiving.
• Itneg 1. Idudu • A dance where the men lull their babies to sleep
while the women till the fields and process the
harvest.
• Gaddang 1. Bumbuwak • In this Dance, the gadding imitates birds attracted to
tobacco trees.

2. WESTERN INFLUENCED DANCES

When the Spaniards colonized the Philippines in the 16th century, they introduced their
religion, arts, and culture. As a result, the native traditions slowly diminished, and the influence of
Western dances became prominent in the country.
The impact of Western dances on Philippine culture.
1. Replacement of Native Traditions:
✓ With the arrival of the Spaniards, Christianity and Western civilization began to replace
the native religion and culture.
✓ This shift resulted in the loss of many ancient traditions, including those related to
literary, visual, and performing arts.
2. Adoption and Adaptation of Western Dances:
✓ The incorporation of Western dances became a notable aspect of the colonized society
in the Philippines.
✓ Dances from Spain, France, and other European countries, such as the jota, balse,
pandanggo, habanera, escotis, mazurka, paseo, marcha, and paso doble, were adopted
and adapted to suit the tastes and needs of the colonial society and the tropical
archipelago.
3. Evolution of Western-Influenced Dances:
✓ Over time, the adopted dances evolved and incorporated indigenous flavors, resulting
in a unique fusion of Western and Filipino dance styles.
✓ Choreographers and dance enthusiasts added Filipino elements like gestures, musical
instruments, and costumes to these Western dances.

Types of Dances Title of Dance Dance Description

1. Rigodon de Honor • A quadrille dance commonly performed in formal

gatherings in a quadrille formation.
2. Lanceros de • A quadrille dance from Tayabas, Quezon
Tayabas performed by old folks during the early days.
3. Birginia • A quadrille form of dance of the Americans, the
“Virginia Reel” inspired the Cagayanos to
develop a Filipino version called Birginia.
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• Quadrille 4. Pasakat • A quadrille dance from Sta. Rosa Laguna
Dances
5. Los Bailes de Ayer • A quadrille dance from Tarlac.
or Maharlika
6. Lanceros de • A version of lanceros from Pangasinan.
Lingayen
7. Lanceros de • A dance from Silay, Negros Occidental which was
Negros not in quadrille formation but linear formation.

1. La Jota • A festive dance from Moncada, Tarlac which was

Moncadeña originally danced during a funeral procession in
the early times.
2. Jota Gumaqueña • A jota version from Gumaca, Quezon.
3. Jota Cabangan • A courtship dance from Zambales.
• Jota 4. Jota Cagayana • A lovely dance which is an adaptation from the
Spanish Jota performed by the early Spanish
settlers in the Cagayan valley
5. Jota de Manila • Manila’s version of the famous Jota with its
typical Spanish stampas, cobradas and clicking of
bamboo castanets bearing Hispanic culture.
6. Jota de Paragua • A version of the Jota, which bears Spanish
stampas and cobradas from Paragua, the old name
of Palawan.

1. Pandanggo • A festival dance from the Province of Bicol

Rinconada depicting the happy and contented life of the
people.
• Fandanggo 2. Pandanggo sa Ilaw • A dance from Mindoro using tinghoy or oil lamps
placed on top of the head and one on each hand.
• A pandanggo dance from Camiling, Tarlac.
3. Pandanggo sa
Sambalilo

4. Pandanggo Ivatan • A wedding dance from Batanes.

5. Pandang-Pandang • Is an exciting and extraordinary wedding dance

from Antique.

1. Valse Vieja • A festival dance from Pangasinan meaning old

waltz.
2. Valse Ybanag • A dance from Camalaniugan, Cagayan meaning
• Balse waltz of the Ybanag people.
3. Balse Marikina • A dance performed after the Lutrina, a religious
procession.
4. Cariñosa • The famous national dance of the Philippines
depicting the character of Filipina maiden’s
modesty and humility.
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 5. Sayaw Sta. Isabel • A dance performed during thanksgiving feasts
after a good harvest, during balaihan, weddings,
or religious occasions.

1. Habanera • A Habanera named after San Narciso town in

Narciseña Zambales.

• Habanera 2. Habanera Botoleña • A dance which was supposedly performed in the

earlier days in honor of a departing priest. Later
on it became a dance performed during social
gatherings in Botolan, Zambales.
3. Habanera de • A dance performed by betrothed couple during
Soltera one of the ceremonies before the wedding.
4. Habasinan • From the word “haba” in habanera and “sinan”
form Pangasinan is a courtship dance.
1. Mazurka de Cuyo • A social dance from Cuyo Island, and early
Spanish settlement in Palawan.
2. Mazurka de Jagna • A mazurka named after Jagna town.

3. Mazurka • A premiere dance of the elite in Mindoro, and Don

• Mazurka Mindoreña Antonio Luna, who considered best dancer of his
time popularized it.
4. Mazurka Boholana • A traditional dance from Bohol which was
originally performed by couples informally
gathered in the ballroom with no definite
sequence steps.
5. Mazurka Val • A combination of the two dances mazurka and
valse, where in one of the figures the skill of
coordination of movement of both dancers while
the boy carries the girl on his feet while dancing.
1. Polkabal • A dance which acquired its name from two well-
known steps polka and valse, corrupted into one
word as polkabal, by the people of Atimonan,
Quezon.
2. Polka Tagala • A dance from Bataan, where one of the figures,
• Polka the ladies pick their voluminous skirts forward
and backward to show-off their beautiful lace
petticoats.

3. Maliket-A-Polka • A dance from Pangasinan which means happy

polka.
4. Sileledaang • A dance which means laden with sorrow in Ilocos
Norte.
5. Polka sa Nayon • A polka dance version from Batangas.
6. Polka Sala • A polka dance version from Mindoro.

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 3. DANCES OF THE MUSLIM GROUPS

Various Muslim groups, including the Maranao, Maguindanao, Tausug, Yakan, Samal, Java
Mapun, and Badjao, have distinct cultural identities in the southern part of the Philippines. One
essential aspect of their artistic expression is through traditional dances. These dances depict the
Muslim communities' daily lives, traditions, and emotions. It is believed that the geographical
proximity to Malay and Indonesian cultures has influenced their dance forms.
Muslim dances in the Philippines exhibit common characteristics across different ethnic
groups. One notable feature is the expressive use of fingers to convey feelings and emotions.
Dancers communicate stories and messages embedded in their cultural heritage through intricate
hand movements.

Examples of Muslim Dances

Group Title of Dance Dance Description

1. Singkil • A Maranao dance derived from the sounds of the
• Maranao bell anklets worn by the Princess as she leaps in
and out of the criss-crossed bamboo poles.
2. Kakulangan • Maranao women walk nobly with their
distinctive movements particularly their
graceful sway.
3. Pig-apir/ • A fan dance of Maranao maidens showcasing
pagapir their simplicity and character.
4. Sagayan • A warrior dance that depicts the hero-warrior
prince Bantugan’s preparation for war, the
actual combat, and the victory.
5. Karatong • A dance in memory of Bantugan’s fighting evil
spirits whom he can hear but can’t see.
6. Kappa Malong • Also called Sambi sa Malong, this Maranao
Malong dance shows the many ways of donning the
malong, a tabular circle of cloth used as skirt,
shawl or mantle.
• Maguindanao 1. Asik • A doll dance for girls.
• Badjao 1. Tauti • A dance of fishing scenario.
• Yakan 1. Paunjalay • A pre-nuptial dance of the Yakan tribe of
Basilan performed by the bride.
2. Pindulas • A dance depicting the movements of fish as it
wade in water.
1. Pangalay ha • A dance imitating the graceful movement of the
• Tausug Patong swift vinta as well as of the birds and fish of the
Tausug world.
2. Janggay • A Tausug female dance using extended
fingernails.

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 3. Sua-ku-Sua • A dance from Jolo, Sulu with an influence of
Chinese movements meaning “my pomelo
tree.”
• Samal 1. Maglanka • A Samal dance class of girls and women. This
dance depicts the training of Samal girls and
women on the languid and flexible movements
of the arms which signifies good breeding.

4. DANCES OF TRIBAL OR LESSER-KNOWN GROUPS

Preserving Indigenous Culture:

The tribal or lesser-known groups in the Philippines have managed to preserve their distinct
cultural traditions through their dances. These groups, such as the Bukidnons, Bagobo, Manobo,
Tiboli or Tagabili, Tagbanua, Mansaka, Mandaya, B’laan, Tgakaolo, and Tiruray, live in remote,
untouched regions of the country, unaffected by Western influences. Their dances serve to pass down
their heritage and maintain their unique identity.

Spiritual Significance:
Many of the dances performed by these tribal groups reflect their strong belief in shamans
and spirits. These spiritual beliefs are central to their rituals, ceremonies, and everyday lives and are
often showcased through dance performances. Such dances serve as a way to communicate with the
spirits, seek blessings, and express gratitude.

Preservation Efforts:
Efforts are being made to document and preserve the dances of these tribal groups, as they
are an integral part of the country's cultural heritage. Collaborations between cultural organizations,
researchers, and tribal communities aim to ensure these dances' continued practice and appreciation
for future generations.

Examples of Ethnic/Tribal Dances

Group Title of Dance Dance Description
1. Dugso • A dance by women commonly wearing a bell
anklets done during thanksgiving of driving
• Bukidnons away of bad spirits.
2. Hinaklaran • A festival and ritual dance of the three
Kaamulan datus, where chanting and dancing
around an altar.
1. Binabua-bua and • Fertility dance and courtship dance among the
Pangaliyag Manobos.
• Manobo 2. Binanog • Version of a hawk dance.
3. Kinugsik kugsik • A dance imitating the movements of the squirrel
1. Todak • A Bagobo dance on the rice-planting and
• Bagobo harvesting cycle.
2. Baliti • A Bagobo dance representing the quivering of
the leaves of the baliti tree.

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• T’boli 1. Kadal Tajo • A mimic dance of beautiful birds performed by
young T’boli girls.
2. Kadal Iwas • A dance imitating the movements of the
monkey.
• Tagbanua 1. Pagdiwata • A ceremonial rite performed during bilug (full
moon) for the purpose of healing the sick,
imploring or in thanksgiving for a good and
bountiful harvest.
• Mansaka 1. Gapakaungod • A wedding dance among the Mansaka.
2. Inamo sa Sayaw • A monkey dance for two.
• Mandaya 1. Kinabua • A dance imitating the movements of a hawk.
• Talaandig 1. Pig-Agawan • Young women of the Talaandig tribe try to
outdo each other in attracting an eligible man
with the use of colorful scarves.
• Higaonon 1. Binaylan-Banog • A typical dance of the Higaonons depicting a
mother hen and her chicks being attacked by a
ferocious hawk, three hunters save the hen
from the clutches of the “banog” of hawk.
• Subanon 1. Sohten • An all male dance that dramatizes the strength
and stoic character of the Subanon male. The
Subanon warrior calls the attention of the
diwatas with the sound of the leaves.

5. COUNTRYSIDE DANCES - A Depiction of Daily Life and Work

Countryside dances are traditional dances that reflect the nature and kind of work performed
by people in rural areas. Ordinary groups of individuals commonly perform these dances and often
depict daily activities. Unlike formal dance forms, countryside dances have a light and informal
style, providing a unique glimpse into the lives of rural communities.

Characteristics of Countryside Dances:

a. Reflecting daily activities: Countryside dances are known for their ability to depict the
various tasks and work carried out by people in rural regions. From farming and livestock
management to household chores, these dances capture the essence of daily life.

b. Performed by ordinary people: Unlike professional dance troupes, countryside dances are
typically performed by ordinary groups of individuals who are not necessarily trained
dancers. This adds a genuine and authentic touch to the performances, showcasing the skills
and talents of everyday people.

c. Informal and light: Countryside dances are more relaxed and informal than other dance
forms. The movements are often simple and rhythmic, allowing participants to express
themselves freely and enjoy the dance carefreely.

Significance and Cultural Impact: Countryside dances hold significant cultural value.

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Here are some examples of countryside dances:

1. Binasuan - This dance features women balancing glasses filled with "tuba" (rice wine) on
their heads and palms while doing rolls on the floor and whirling in circles.

2. Bulaklakan - Beautiful ladies perform This garland dance in May as they dance to the town
church during the flower festival.

3. Karatong - This dance involves Cuyunen men playing bamboo noisemakers to accompany
gaily-dressed ladies in a boisterous street parade.

4. Maglalatik - This playful dance involves young men beating coconut shells and represents a
mock battle over coconut residue known as "latik."

5. Pandanggo sa Ilaw - This dance requires skill in balancing glasses of tinghoy lamps on top
of the head and on each hand.

6. Oasiwas - This dance involves using lighted glasses wrapped in scarves and swayed like
beacons to welcome the homecoming of fishermen.

7. Pasikat sa Baso - This Pangasinan dance requires skill in balancing glasses of wine on the
head and hands while standing on top of a bench.

8. Salakot - This wide-brimmed hat protects Filipinos from heat and rain.
9. Subli - This dance from the province of Batangas shows reverence towards a wooden cross.
The boys dance and click castanets while bent down, while the girls wave hats decorated
with ribbons.

10. Bati - This dance is performed on Easter Sunday.

11. Gayong-gayong - This is a game dance.

12. Binislakan - This Pangasinan dance, which means "sticks," bears Chinese influence.

13. Pabirik - This dance depicts the stages of gold panning.

14. Inalisan - This lively festival dance from Nangalisan, Laoag, Ilocos Norte represents the
transfer from one place to another.

15. Bakya-Salakot - This dance uses a "salakot" hat and "bakya" wooden sandals.

16. Labahan at Palo-Palo - This comedic dance portrays a washing scene by the river, with
flirtation between a male and several giggling females washing their clothes.

17. Kalapati - This amusing dance imitates the movements of doves, or "kalapati."

18. Sayaw sa Bangko - This dance requires skill while dancing on a narrow bench. The dancers
twist and jump, encouraged by shouts and applause to avoid falling off the bench.
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 19. Sayaw sa Pag-Ibig - This is a courtship dance performed by two young lovers who meet
without the consent of their parents.

20. Pandanggo sa Ilaw-Oasioas - This dance showcases the beauty of lights as darkness falls over
the countryside. The dancers skillfully balance oil lamps on their heads while moving to the
music. "Oasioas" refers to the swinging movements that imitate fireflies.

21. Sambalilo-Kuratsa - This flirting dance involves a swain showing off to his sweetheart by
picking up a straw hat without using his hands while dancing. It is a fast-paced dance that
involves chasing and running.

22. Sakuting - This ritual dance depicts a mock fight celebrating a victory and is usually
performed in town plazas. It has Chinese influences.

23. Ate-Ate sa Bukid - This lively dance resembles the American square dance.

24. Paraguanen - Originating from Cebu, the aborigines of the Philippines initially performed
this comical dance to imitate the Spanish conquistadors who occupied their land.

25. Tinikling - is a traditional Filipino folk dance named after the tikling bird, known for its long
legs. The dancers in this dance imitate the bird's movements, showcasing their agility and
gracefulness. They move between two sets of bamboo poles that are struck together
rhythmically. The dancers must have quick reflexes and precise footwork to avoid getting
caught between the moving poles. This dance is a true spectacle, demonstrating the skill and
coordination of the performers.

V. Learning Enhancement

I. Instructions: Answer the following questions by group after watching the videos attached each
dance category. Write your answer on the provided sheet below.

a. What can you say/observe about the dances in the following context?
1. history,
2. movements, and
3. characteristics.

Group 1 - Cordillera Group

Banga Dance by the LUngsoranon Performing Arts Ensemble (LUPAE)
https://www.youtube.com/watch?v=1uUJbCOMiaU

Group 2 - Western Influence dances

PANDANGGO RINCONADA : Philippine Christmas Folk Dance from Nabua,
Camarines Sur - https://www.youtube.com/watch?v=Z_A0H2_tIS8

Group 3 - Muslim Group

Singkil - https://www.youtube.com/watch?v=xulZS6K2tiM

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 Group 4 - Tribal/lesser-known Group
Binanog Dance - https://www.youtube.com/watch?v=O-0ev4xw2ss

Group 5 - Countryside Dances

Philippine Folk Dance Maglalatik
https://www.youtube.com/watch?v=do4GyUk3XKc

b. Reflection:
1. What do you see, feel, and think about the importance of the cultural heritage of the
Philippines and its significance in preserving these practices for future generations?

VI. References
Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Kostić, R., Uzunović, S. (2012). Ples. Niš: Fakultet sporta i fizičkog vaspitanja.
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
Gabao, Larry A., Reviewer for Licensure Examination for Teachers.

You have just finished module 1 that is good for 2 sessions.

Congratulations!!!

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 Module 1 - Activity 1

Group No ______ Date submitted: _____________

Name: ____________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________

Group 1 - Cordillera Group

Group 2 - Western Influence dances
Group 3 - Muslim Group
Group 4 - Tribal/lesser-known Group
Group 5 - Countryside Dances

a. What can you say/observe about the dances in the following context?

1. history,
___________________________________________________________________________
___________________________________________________________________________

2. movements and
___________________________________________________________________________
___________________________________________________________________________

3. characteristics
___________________________________________________________________________
___________________________________________________________________________

b. Instructions: Write your answer at the back of this paper if the space provided below needs to be
increased.

Reflection:
1. What do you see, feel, and think about the importance of the cultural heritage of the
Philippines and its significance in preserving these practices for future generations?

___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________

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 MODULE 2
Characteristics and Terms of Philippine Traditional Dance

I. Overview
Module 2 focuses on the characteristics and terms associated with Philippine
Traditional/Folk dances. Understanding these aspects provides a shared understanding and
interpretation of dance movements for performers.
This module is designed for 2-day sessions, with 90% of the work done in group discussions.
These discussions can take place on various platforms such as Google Meet, Facebook, Messenger,
or any platform with available connectivity.
The module adopts a student-centered approach, with students leading their learning process.
Independent work will be assigned, and students will be encouraged to explore and research the
characteristics and terms of Philippine Traditional/Folk dances. Class or individual discussions will
provide opportunities for clarification and further understanding.

II. Desired Learning Outcomes

Through this module, students are expected to:
a. familiarize with the characteristics and terms of Philippine Traditional/Folk dances; and
b. analyze, interpret, and execute dance terms.

III. Learning Content and Tasks

In this module, the main focus is on the characteristics and terms associated with Philippine
Traditional dances. Establishing a standard reference and viewpoint among performers is essential,
as this forms the foundation for accurately interpreting and executing dance steps.
Now, let us begin exploring and understanding the characteristics and terms of Philippine
Traditional Dance. The content was anchored on the Revised LET material in Phil Folk and Ethnic
Dances by Dr. Vergara.

A. Characteristics Of Philippine Traditional/Folk Dances:

1. Saludo: In Philippine Traditional dances, it is customary for dances to begin and end with a
saludo. The saludo involves a three-step turn in place and a bow to the partner or the
audience.
2. Distance between Dancers: Generally, dancers maintain a considerable distance from each
other. It is usual for dancers to be approximately 6-8 feet apart from one another.
3. Minimal Body Contact: Unlike some other dance styles, Philippine Traditional dances
involve minimal, if any, body contact. However, holding hands with partners is commonly
seen.
4. Paired Dances: Most of the traditional dances in the Philippines are performed in pairs.
Hand movements play a significant role in these dances.
5. Long Formation: Many Philippine Traditional dances are performed in long formations,
with dancers forming lines or other extended arrangements.
6. Inclusive Participation: Philippine Traditional dances are performed by individuals of all
ages and genders. Both the young and the old, as well as both males and females, take part
in these dances.

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 These characteristics contribute to the unique style and cultural significance of Philippine
Traditional/Folk dances.

B. Dance Terms:
1. "Abrasete" - The girl, positioned on the right side, holds the right arm of her partner with her
left hand while her free hand remains down at the sides. This term originates from Spanish
and is used in dances such as Rigodon.
2. Inside Hand - Refers to the hand closest to one's partner when standing side by side.
3. Outside Hand - Refers to the hand away from one's partner when standing side by side.
4. Free Hand - The hand that is not engaged in any specific action or not placed anywhere.
5. Inside Foot - The foot nearest to one's partner when standing side by side.
6. Outside Foot - The foot away from one's partner when standing side by side.
7. Free Foot - The foot not bearing the body's weight.
8. Supporting Foot - The foot that bears the body's weight.
9. Crossed Arms - When partners face each other or stand side by side, the girl is at the boy's
right. They join their left hands and their right hands together, either the right hand over the
left or the left hand over the right.
10. Clockwise refers to the direction of movement that is similar to the motion of the hands of a
clock. In this direction, the right shoulder is facing toward the center of an imaginary circle,
and when facing the center, the movement is towards the left.
11. Counterclockwise is the opposite direction of clockwise. In this direction, the left shoulder is
facing toward the center of an imaginary circle, and when facing the center, the movement is
towards the right.
12. "Cabeceras" is a term used in dancing when the dancers are in a square formation. It refers
to the couples that occupy the width of the hall or the head couples. This term has Spanish
origins.
13. "Costados" is another term used in dancing when the dancers are in a square formation. It
refers to the couples that occupy the length of the hall or the side pairs. This term also has
Spanish origins.
14. A set is a dance formation that can be a square or a unit formation consisting of two or more
pairs.
15. Star with Right Hand is a dance move involving four or more people. They join their right
hands at the center and move in a circular motion clockwise using walking or any dance step.
16. Star with Left Hand is similar to the "Star with Right Hand," but instead of joining the right
hands, the dancers join their left hands and turn counterclockwise.
17. Hands on waist is a position where the hands are placed at the waistline, specifically at the
smallest part of the trunk. The knuckles are turned inward, with the fingers pointing towards
the rear.

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18. Arms in Reverse "T" is a pose where the arms are held horizontally to the sides, with the
elbows bent at right angles. The forearms are parallel to the head, and the palms can face
forward or inward. The fists are loosely closed.
19. "Kumintang" is a movement where the hand is rotated from the wrist either in a clockwise
or counterclockwise direction. This term originates from the Ilocano language.
20. "Masiwak" is a movement where the hand is turned halfway clockwise from the wrist and
then raised and lowered once or twice. This term comes from the Ibanag language.
21. Arms in Lateral Position refers to a position where both arms are placed at one side, either to
the right or left. This can be done at shoulder, chest, or waist level.
22. "Bilao" is a movement where the palms of the hands are turned up and down alternately, with
the hands at waist level in front and the elbows close to the waist.
23. "Hapay" is a movement where the dancer flourishes or offers someone a handkerchief, hat,
or glass of wine as a sign of invitation.
24. "Hayon-Hayon" is a Visayan term that refers to placing one forearm in front and the other at
the back of the waist.
25. "Patay" is an Ilocano term that describes the movement of bending the head downward and
supporting the forehead with the right (or left) forearm or with the crook of the right (or left)
elbow. The left (or right) hand lightly supports the palm of the right (or left) hand. This
movement is often accompanied by the left (or right) foot pointing to the rear and the knees
slightly bent.
26. "Sarok" (or "Saroc") is a term used in Visayan dances. It involves crossing the right (or left)
foot in front of the left (or right) foot, slightly bending the body forward, and crossing the
hands or forearms down in front with the right (or left) hand or forearm over the left (or right)
hand or forearm.
27. "Salok" is a Tagalog term that refers to the movement of swinging the arm downward and
upward, passing in front of the body as if scooping. The trunk is bent forward, following the
direction of the arm doing the "salok."
28. Place means putting the foot in a particular or desired position without weight. The sole of
the foot rests on the floor.
29. Point involves lightly touching the floor with the toes of one foot while the body's weight is
on the other foot.
30. Tap is lightly rapping the floor with the ball or toe of the free foot while flexing the ankle
joint, keeping the body's weight on the other foot. There is no change or transfer of weight.
31. Stamp is forcefully and noisily bringing down the foot on the floor, similar to doing a heavy
step. This can be done with or without transferring weight.
32. "Panadyak" is a Tagalog term that describes the movement of stamping in front or at the side
with the right (or left) foot, followed by tapping the same foot close to the left (or right) foot.
The body's weight is on the left (or right) foot.
33. Pivot refers to the action of turning with the ball, heel, or entire foot on a fixed place or point.
34. Step involves advancing or receding by raising or moving one foot to another resting place.
This movement includes a complete transfer of weight from one foot to another.
15
 35. Brush is a movement where the weight is on one foot, and the ball or heel of the other foot
(the free foot) hits the floor, after which the free foot is lifted in any direction.
36. Slide refers to the smooth gliding of the foot along the floor. This movement can be
completed with or without transferring weight.
37. Draw involves pulling one foot along the floor close to the other foot, which bears the body's
weight. The weight may or may not be transferred during this movement.
38. Hop is a springing movement where one foot leaves the floor and lands on the same foot in
place or any direction. The other foot may be raised in any direction.
39. Cut is a quick displacement of one foot with the other foot, completely removing the body's
weight from the displaced foot.
40. Jump is a springing movement where one or both feet leave the floor and land on both feet
in any direction.
41. Leap refers to a spring from one foot, landing on the other foot in any direction, such as
forward, sideways, backward, or oblique.
42. "Saludo" is a Spanish-origin term used in almost all Philippine dances. It involves partners
bowing to each other, the audience, opposite dancers, or neighbors with their feet together.
43. Do-si-Do (Dos-A-Dos) is a dance movement where the couples facing each other (vis-a-vis)
both advance forward and pass each other's right (or left) side. They then step across to the
right (or left) and move backward without turning around, passing each other's left (or right)
side to their proper places. This movement has a foreign origin and is used in many Philippine
dances.
44. "Jaleo" is a Tagalog term of Spanish origin. In this movement, partners turn once around
clockwise (with right elbows almost touching) or counterclockwise (with left elbows almost
touching) using walking or any dance step. The hands near each other are placed on their
waists.
45. Cross-Over is a movement involving two couples opposite each other (vis-a-vis). Each
couple proceeds in a straight line toward the opposite place. The girls pass each other's left
shoulders between the boys. When the boys meet in the middle or about one-third of the way,
they bow to each other before continuing to the opposite place. Upon reaching the opposite
place, the partners turn around and the girls stand at their partner's right side.
46. Three-step turn: Perform a complete turn by taking three steps without moving forward or
sideways, repeating counts 1, 2, and 3.
47. Cross turn: Cross one foot in front of the other on count 1 and complete a full turn.
48. Whirl: Execute fast turns by taking small steps to the right or left.
49. Whirl turn: Perform multiple high-speed turns using tiny steps.
Regional Classification of Published Filipino Dance Terms
Region Dance Terms
Tagalog Bilao, Hapay, Jaleo, Panadyak and Salok
Visayan Hayon-Hayon and Sarok
Ilocano Patay and Kumintang
Ibanag Masiwak

16
V. Learning Enhancement

I. Instructions: Each group is assigned to analyze, interpret and execute the dance terms. Then the
group will demonstrate it in front of the class.
Dance Terms
Group 1 – 1-12
Group 2 – 13-20
Group 3 – 21- 30
Group 4 - 31- 40
Group 5 – 41- 49

Rubrics - Dance Terminology Assessment

Adopted and modified from DANCE ASSESSMENT RUBRIC
https://web.uvic.ca/~thopper/Dance/Michelle%20and%20Tim/resources/Assessments.doc
Exceeds Expectations The student consistently demonstrates knowledge of dance terms and
5 points can always analyze term directions with no errors.
Fully Meets Expectations The student mostly demonstrates knowledge of dance terms and
3 points analyzes term directions with no errors.
Meets Expectations The student sometimes demonstrates knowledge of dance terms and
(minimal level) occasionally analyzes term directions with no errors.
2 points
Not Yet Within The student rarely demonstrates knowledge of dance terms and rarely
Expectations analyzes term directions with no errors.
1 points

II. Instructions: View the following dances and analyze and identify the dance terms. List down all
the dance terms seen in the video.
a. Rigodon De Honor 6:03 minutes
https://www.youtube.com/watch?v=eLXxbiyHhXY

III. Instructions: Answer the dance terms in the Google form. There will be two sets of quizzes.
a. Identification of dance terms
b. Image identification

VI. References
Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
Gabao, Larry A., Reviewer for Licensure Examination for Teachers.

You have just finished module 2 that is good for 2 sessions.

17
 Module 2 - Activity 1

Group No ______ Date submitted: _____________

Name: ____________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________

A. List down all the dance terms seen in the video.

1. ____________________________________
2. ____________________________________
3. ____________________________________
4. ____________________________________
5. ____________________________________
6. ____________________________________
7. ____________________________________
8. ____________________________________
9. ____________________________________
10. ____________________________________
11. ____________________________________
12. ____________________________________
13. ____________________________________
14. ____________________________________
15. ____________________________________
16. ____________________________________
17. ____________________________________
18. _____________________________________
19. ____________________________________
20. ___________________________________

18
 MODULE 3
Fundamental Positions

I. Overview
Module 3 focuses on the fundamental positions of the arms and feet, guiding performers to
execute dance movements accurately. These positions are based on the basic positions in ballet,
allowing for a shared understanding and interpretation of written instructions in dance steps and
literature.
The module is designed to be completed over 3 meetings, with 90% of the students doing the
work independently or in groups. The remaining 10% can be allocated for class or individual
discussions, which can take place on various platforms such as Google Meet.

II. Desired Learning Outcomes

By the end of this module, students are expected to:
a. demonstrate proper and correct execution of the fundamental positions of the arms, feet, and
combinations of movements.
b. identify and recognize the fundamental positions of the arms, feet, and combinations of
movements.

III. Learning Content and Tasks

The fundamental positions of the arms and feet for a standard reference in interpreting dance
literature. Following the rule of thumb in arms and footwork movements, R (L) foot is combined
with L (R) arm movement.

FUNDAMENTAL POSITIONS OF THE ARMS and FEET.

Arm Positions

1st 2nd 3rd 4th 5th

- Bring both arms - Open both arms • Raise L (R) arm • Bring • Bring
circle in front sideward below overhead, R (L) R (L) arm half R (L) arm
between chest shoulder level with a remains in 2nd circle in front of overhead with L
and waist level. graceful curve. position. chest, while L (R), both arms
(R) remains in a graceful
overhead. curve.

19
 Feet Positions
1st 2nd 3rd 4th 5th

- Heels together • Bring R (L) foot - Bring the R (L) • Bring R (L) foot • Drag R (L)
and toes open 45 apart sideward heel instep with to a stride in foot, heel
degrees angle. (a foot distance). L (R) foot. front of the other to touch
foot, heels are in the toe of L
one line. (R) foot.
• .

Combination of Arms and Feet Positions

1st 2nd 3rd 4th 5th

1st Position
Arm: Bring both arms circle in front in between chest and waist level.
Feet: Heels together and toes open at 45 degrees angle.

2nd Position
Arm: Open both arms sideward below shoulder level with a graceful curve.
Feet: Bring R (L) foot apart sideward (a foot distance).
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3rd Position
Arm: Raise L (R) arm overhead; R (L) remains in 2nd position.
Feet: Bring the R (L) heel instep with L (R) foot.
4th Position
Arm: Bring R (L) arm half circle in front of the chest while L (R) remains overhead.
Feet: Bring R (L) foot to a stride in front of the other foot; heels are in one line.

5th position
Arm: Bring R (L) arm overhead with L (R), both arms in a graceful curve.
Feet: Drag the R (L) foot heel to touch the toe of the L (R) foot.

V. Learning Enhancement

Activity 1
Performance Task
Self and Peer Assessment

Instructions:
a. Practice and master the fundamental position of the arms, feet, and combination of
movements.
b. Take a video on movement combinations only.
c. Assess your own video and let your peer assess as well; please be guided with the rubrics
presented below as a basis for the rating of your performance task.
d. Submit your video output thru google classroom for proper monitoring.
e. Encode self and peer assessment ratings and comments in the Google form.

Performance Assessment of Fundamental Positions of Arms. Feet and

Combination of Movements

Points Rubrics of Arms, Feet, and Combination of Positions

Adopted and modified from https://www.scribd.com/document/449736202/rubric-fundamental-dance-positions-college

10 - Performs Arms/feet/ combination of positions properly and correctly with
confidence, mastery, and grace.
8 - Performs Arms/feet/ combination of positions with 1 mistake, portraying a little
confidence, mastery, and grace.
6 - Performs Arms/feet/ combination of positions with 2 mistakes and demonstrates
uncertainly in the movement sequence.
4 - Performs Arms/feet/ combination of positions with 3 mistakes and demonstrates
an imprecise sequence of movements.
2 - Performs Arms/feet/ combination of positions with 4 mistakes and demonstrates
lack of movement sequence.
0 - Incorrectly performs all Arms/feet/ combination of positions with no confidence
and mastery of movement sequence.

21
VI. References
Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
Gabao, Larry A., Reviewer for Licensure Examination for Teachers.

You have just finished module 3, which is suitable for 3 sessions.

Congratulations!!!

22
 MODULE 4
Dance Steps can be done in 2/4 & ¾ Time Signatures

I. Overview
This module focuses on basic warm-up movements and introduces eight dance steps in 2/4
and 3/4 time signatures. The aim is to prepare the body for the physical demands of dance and reduce
the risk of injury. Body conditioning is emphasized as it gradually increases heart rate and muscle
blood flow.
This module is designed to be completed in 3 sessions, with 90% of the students doing the
work independently or in groups. The remaining 10% is allocated for class, or individual discussions,
which can take place on platforms such as Google Meet, Facebook, Messenger, or any other
available connectivity means.

II. Desired Learning Outcomes

The purpose of these activities is to properly prepare the body for dance and increase flexibility,
strength, and endurance. By the end of this module, students are expected to:
a. perform the basic warm-up movements effectively, ensuring their bodies are correctly
prepared for dance activities.
b. Analyze, interpret, and perform the eight dance steps in 2/4 and 3/4 time signatures.

III. Learning Content and Tasks

In this module, the emphasis is on basic warm-up movements and dance steps in 2/4 and 3/4
time signatures. These activities are essential in preparing the body for the flexibility, strength, and
endurance required in dance movements. Warm-up exercises help raise the internal body
temperature, increase heart rate, and improve muscle blood flow, ensuring the movements can be
performed effectively.
Once the body is adequately warmed up, we will analyze and perform the dance steps in 2/4
time signature. These steps will be a common reference point in interpreting dance literature and
understanding the rhythmic patterns associated with 2/4 time.
Let's begin by learning and practicing the movements within the 2/4 time signature.

Terms
• Arabesque position
• Salok
• Saroc
• Plie-legs
• Arch back

23
WARM-UP MOVEMENTS

Warm-up 1
a. Arms in first R foot pointing forward (1, 2) ………………………………….1M
b. Arms in second and leg pointing sideward right (1, 2)…………………...1M
c. Same position as b but bend trunk to the right (1, 2) ……………….………...1M
d. Back to trunk erect (1.2) ……………………………………………................1M
e. Repeat a-d to the left …………………………………………………..............4M
f. Repeat a-d ……………………………………………………………..............8M
g. Repeat a-e 2 times ……………………………………………..……………..16M

Warm-up 2
a. Arabesque position right foot raise and arms in second position ………….. (1, 2)
b. Bring the raised leg in front and arms in fifth position ……….………….….(1, 2)
c. Salok to turn for 2 measures ………………………….….................(1 , 2 , 1 , 2)
d. Repeat a-c to the left ………………………………………….………………..4M
e. Repeat a-d for 2 time .………………………………………………………..…8M
f. Repeat a-e 2 times …………………………………………….…....................16M

Warm-up 3
a. Plie - legs in second position arms in first to cross over-head to fifth (2M) to second and
down (4M) and going up to the original position (2M) ……………………………..8M
b. Repeat a ……………………………………………………………………………...8M
c. Repeat a-b twice ……………………………………………………………………16M

Warm-up 4
a. Both arms in figure 8 alternately right to the left …………………………………….4M
b. Arabesque Left leg raise and extend R arm in front and L arm at the back ………...3M
c. Back to the starting position …………………………………………………………1M
d. Repeat a-c …………………………………………………………...……………….8M
e. Repeat a-d twice …………………………………………………..………………..16M

24
 FUNDAMENTAL DANCE STEPS 2/4 and 3/4 TIME SIGNATURES

Dance Steps Time Measure Step Pattern

Signature
1. Touch step 2/4 1M Point, close
1 2
3/4 1M Point, close or Point, close
1,2 3 1 2,3
2. Bleking step 2/4 1M Heel place, close
1 2
3/4 1M Heel place, close or Heel place, close
1,2 3 1 2,3
3. Close step 2/4 1M Step, close
1 2
3/4 1M Step, close or Step, close
1,2 3 1 2,3
4. Hop step 2/4 1M Step, hop
1 2
3/4 1M Step, hop or Step, hop
1,2 3 1 2,3
5. Slide step 2/4 1M Slide, close
1 2
3/4 1M Slide, close or Slide, close
1,2 3 1 2,3
6. Grapevine 2/4 As many Cross-step, step, cross-step, step so on…
1 2 1 2
3/4 As many Cross-step, step, cross-step, step so on…
1,2 3 1,2 3
1 2,3 1 2,3
7. Parallel Tortillier 2/4 As many Feet together pivot heel and ball
1 2
1 and 2 and
3/4 As many Feet together pivot heel and ball
1,2 3
1 2,3
8. Opposite Tortillier 2/4 As many Toes sideward and pivot on balls and turn heels sideward
1 2
3/4 As many Toes sideward and pivot on balls and turn heels sideward
1,2 3
1 2,3

25
 FUNDAMENTAL DANCE STEPS

1. TOUCH STEP. Music: 2/4. Counts 1, 2. ¾ Counts 1,2,3

Place the R (L) toe in fourth in front (ct. 1), step R (L) close to L (R) foot in first position (ct. 2)

2. BLEKING STEP. Music: 2/4. Counts 1, 2. ¾ Counts 1,2,3

Place the R (L) heel in fourth in front (ct. 1), step R (L) close to L (R) foot in first position (ct. 2).
Or hop on L (R) and place R (L) heel in fourth in front (ct. 1), with a spring reverse the position
of the feet (ct. 2), that is, placing the L (R) heel in front and the R (L) in position taking the weight
of the body. This is taking it in one count. This may be done also moving forward or backward.

3. CLOSE STEP. Music: 2/4 time. Counts 1, 2. ¾ Counts 1,2,3

Step R (L) foot in fourth in front (ct. 1), close L (R) to R (L) foot in third in rear in first position (ct.
2). This may be executed in any direction.
Note: When done sideward, one-foot leads, i.e., R foot leading when moving sideward right,
L foot leading when moving sideward left. There is transfer of weight to the closing foot.

4. SLIDE STEP. Music: 2/4 time. Counts 1, 2. ¾ Counts 1,2,3

Slide/glide sideward R(L) (ct. 1) and close L(R) (ct. 2)

5. HOP STEP. Music: 2/4 time. Counts 1, 2. ¾ Counts 1,2,3

Step R(L) in fourth in front (ct. 1) and hop R (L) (ct. 2). This may be executed in any direction

6. GRAPEVINE STEP. Music 2/4 time. Count 1, 2 to a measure. This is a step in which one-foot
crosses in rear and in front of the other foot alternately.
a. Step L(R) foot across the R(L) in rear (ct.1), step R(L) sideward (ct.2), step R(L) across the
R(L) in front (ct.1), step R(L) sideward (ct.2), and so on. Execute as many steps as necessary.
Music ¾ time. Count 1,2,3 to a measure.
a. Step L(R) foot across the R(L) in rear (cts. 1,2), step R(L) sideward (ct.3), step L(R) across
the R(L) in front (cts.1,2), step R(L) sideward (ct.3), and so on.
b. Step L across the R in rear (ct.1), step R sideward (cts. 2,3), step L across the R in front
(ct.1), step R sideward (cts.2,3) and so on.

7. PARALLEL TOTILLIER - Music: 2/4 time. Count 1, 2,or, 1, and, 2, and, to a measure(as
many measures as required) or ¾ time. Count 1,2,3 to a measure
TRAVELLING LEFT
a. Starting position- feet together, toes pointed forward, both feet flat on the floor. Pivot on heels and
turn toes to sideward left (ct. 1), pivot on balls of feet and turn heels to sideward left (ct. 2), and so
on.
b. Start in the same position as in (1). Pivot on heels and turn toes to sideward left (ct. 1), pivot on balls
of feet and turn heels to sideward left (ct. and). Repeat all (cts.2, and), and so on.

26
8. OPPOSITE TORTILLIER
TRAVELLING LEFT
a. Pivot inward of balls of both feet so that toes touch together (ct. 1), pivot on the heel of L
and on the ball of the R foot so that heels touch together (ct. 2), pivot on the ball of the L and
on the heel of the R so that toes touch together (ct. 1), repeat ct. 2 (ct. 2), and so on.
b. Pivot inward on balls of both feet so that toes touch together (ct. 1), pivot on the heel of the
L and on the ball of the R foot so that heels touch together (ct. and), pivot on the ball of the
L and on the heel of the R so that toes touch together (ct. 2), and so on.

V. Learning Enhancement

Activity 1
Performance Task

I. Instructions: Create group warm-up movements with music accompaniment selected using
o dance terms,
o fundamental position of the arms and feet and
o dance steps
▪ Group 1 and 2 (2/4 time signature)
▪ Group 3, 4 and 5 (¾ time signature)

VI. References
Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
Gabao, Larry A., Reviewer for Licensure Examination for Teachers.

You have just finished module 4 that is good for 3 sessions.

Congratulations!!!

27
 MODULE 5
Dance Steps in 2/4 Time Signature

I. Overview
Module 5 continues Module 4, focusing on dance steps in the 2/4 time signature. It is
designed to span over four days, with 90% of the students completing the group performance tasks.

II. Desired Learning Outcomes

By the end of this module, students are expected to:
a. analyze and interpret dance steps in the 2/4 time signature, understanding the rhythmic
patterns and movements associated with this time signature.
b. perform the dance steps in the 2/4 time signature with ease and fluidity, syncing their
movements to music and demonstrating proficiency in executing the steps accurately.

III. Learning Content and Tasks

In this module, the focus is on the fundamental dance steps in the 2/4-time signature. These
steps are essential in establishing a shared reference and understanding for dance interpretation and
execution. Let's begin by learning and performing the following dance steps:

FUNDAMENTAL DANCE STEPS 2/4 TIME SIGNATURE

Dance Steps Time Measure Step Pattern
Signature
1. Step Swing 2/4 1M Step, swing
1 2
2. Skip Step 2/4 1M Step, hop, step, hop
1 and 2 and
3. Cut Step 2/4 1M Displace R(L) forward and L(R) backward
1 2
4. Rocking Step 2/4 1M Fall out same step in cut step
1 2
5. Gallop Step 2/4 1M Step, Cut, Step, Cut
1 ah 2 ah
6. Mincing steps 2/4 1M Step, step, step, step so on…….
1 and 2 and
7. Shuffling Step 2/4 As Slide, slide, slide, slide so on…..
many 1 and 2 and
8. Chasing step 2/4 As Step, step, step, step so on. (One foot leading in 3rd position)
many 1 and 2 and
9. Habanera Step 2/4 1M Step, Close, Step (Step in any direction and close step in place)
1 2 and
10. Change step 2/4 1M Step, close, step
1 and 2
11. Heel and Toe 2/4 2M Heel and Toe, Step, close, step
Change Step 1 2 1 and 2
12. Cross-change step 2/4 1M Cross-step, close, step
1 and 2
13. Korriti Step 2/4 1M Cross-step, step, cross-step, step
1 and 2 and

28
 Dance Steps Time Measure Step Pattern
Signature
14. Korriti Step Turn 2/4 1M Cross-step, step, cross-step, step
1 and 2 and
15. Pivot Turn 2/4 2M Step R (L) and pivot in quarter turn L (R)
1 and 2 and (2x)
16. Contraganza 2/4 1M Leap, cross-step, step
1 and 2
17. Plain Polka 2/4 1M Step, close, step, pause
1 and 2 and
18. Heel and Toe, 2/4 2M Heel and Toe, Step, close, step, pause
Polka 1 2 1 and 2 and

19. Hop Polka 2/4 1M Hop-step, close, step, pause

and 1 and 2
20. Brincos Con 2/4 1M a. Jump to cross R foot in front of L foot (1) raise
Puntillas heels
b. Jump to cross R foot in rear/back (2)
21. Brincos Con 2/4 1M a. Jump to cross R foot in front of L foot (1)
Vueltas b. Jump to cross R foot in rear/back (2) Turn
22. Haplik Step 2/4 8M a. Step R, Step L - 1M
1 2
b. Hop L foot- raise-swing R, swing obliquely forward 1M
1 2
c. Three-step turn R
Step R, Step L, Step R -1M
1 and 2
d. Repeat b with L foot – 1M
e. Repeat c to the L - 1M
f. Repeat b - (1M)
g. Two steps backward- (1M)
Step R , Step L
1 2
h. Close R to L foot, pause - (1M)
1 2

FUNDAMENTAL DANCE STEPS

2/4 TIME SIGNATURE

1. STEP-SWING. Music: 2/4 time. Counts 1, 2.

Step R (L) foot in second position (ct. 1), swing the L (R) foot in fourth in front or across the R (L)
in front (ct. 2). The raised foot is pointed downward or in natural position and the knee is straight
or slightly bent. This is done in any direction.

2. SKIP STEP. Music:2/4 time. Counts 1, ah, 2, ah.

Step R (L) in fourth in front (ct. 1), hop on R (L) in place (ct. ah).
There are two skips to a measure in 2/4 time. This is executed in any direction.
29
3. CUT STEP. Music: 2/4 or 6/8 time. Counts 1, 2, or 1 ah, 2, ah
Raise R (L) foot in fourth in front in preparation. Cut the L (R) backward with the R (L) foot thus
displacing the L foot at the same time placing the weight of the body on the R foot, raising the L
foot in rear with straight knee (ct. 1). Cut R (L) forward with L (R) foot (ct.2)
This may be done forward and backward, diagonally forward and backward, and sideward right
and left alternately. Take one cut for every count.

4. ROCKING STEP. Music: 2/4 or 6/8 time. Counts 1, 2 or 1, ah, 2, ah

Fall onto R (L) foot in fourth in front and raise L (R) in rear (ct. 1), fall onto L (R) foot in fourth
in rear and raise R (L) in front (ct. 2). The body is inclined slightly forward and backward in a
rocking motion. Take one rock forward and one rock backward for every measure.

5. GALLOP STEP. Music :2/4 time. Counts 1, ah, 2, ah.

Step R (L) foot in front (ct. 1) and cut the R (L) foot with the L (R) thus replacing it and at the
same time taking the weight of the body with the L (R) foot (ct. ah). There are two gallops to one
measure. This is executed with one foot leading and may be done in any direction.

6. MINCING STEP. Music 2/4 or ¾ time. Count 1, and 2, and or 1, ah, and, ah, 2, ah, and, ah, to
measure in 2/4 time.
With the feet in fifth position execute tiny steps sideward right with R foot in front and to sideward
left with the L in rear. Execute as many steps as necessary. This is done with the leading foot flat
on the floor and the rear foot with the heels raised or with both heels raised. This step is done in all
directions. When it is done forward (cts. 1, and ,2). The steps are light and dainty.

7. SHUFFLING STEP. Music: 2/4. Count 1, and, 2, and, or 1, ah, and, ah, 2, ah, and, ah to
a measure (as many measures as required).
Execute tiny sliding steps on the balls of the feet as many times as required. This is usually done
forward.

8. CHASING STEP. Music: 2/4 time. Counts 1, and, 2, and .

Step R (L) forward (ct. 1) and step L (R) close to R (L) in third in rear or first position (ct. and).
Step L (R) forward (ct. 2) and step L (R) close to R (L) in third in rear or first position (ct. and).
This step is executed, with one foot leading in all directions. The steps are small. These are two
chasing steps in a measure.

9. HABANERA STEP. Music 2/4 time. Counts 1, 2, and.

Step R (L) in fourth in front (ct. 1), step L (R) close to R (L) in first position (ct. 2), step R (L) in
place (ct. and). This may be executed in any direction.

10. CHANGE STEP (TWO-STEP). Music 2/4 time. Counts 1, and 2.

Step R(L) foot in fourth in front (ct. 1), step L (R) foot in third in rear or in first position (ct. and),
step R (L) foot quickly in fourth in front (ct. 2). This may be executed in any direction.

11. HEEL AND TOE CHANGE STEP. Music: 2/4 time. Counts 1, 2, 1, and, 2 … (2
measures)
Place the R (L) heel in fourth in front (ct. 1), touch the R (L) toe in rear (ct. 2). Take one change
step forward, starting with the R (L) foot (cts. 1, and, 2). This may be executed forward and
backward and in oblique directions.
30
12. CROSS CHANGE STEP. Music: 2/4 time. Counts 1, and 2.
Step R (L) foot across L (R) in front (ct. 1), step L (R) close to R (L) foot in third in rear or in first
position (ct. and), step R (L) foot quickly in fourth in front (ct. 2). This step is commonly done
forward and sideward.

13. KORRITI-STEP. Music: 2/4 time. Count 1, and, 2, and to a measure. (2 or 4 measures).
With R (L) across L (R) in front, execute korriti steps (4 steps to a measure) sideward.

14. KORRITI-STEP TURN. Music: 2/4 time. Count 1, and, 2, and to a measure. (2 or 4
measures).
With R (L) across L (R) in front, execute korriti steps (4 steps to a measure) turning left (right) in
place.

15. PIVOT TURN. Music: 2/4 time Count 1, and, 2 and to a measure (2 measures).
(a) Step R (L) foot in front (or a little close to fifth position) and bend the R knee slightly (ct.
1), execute a quarter-turn right (left) with a push on the ball of the floor (ct. and). Repeat all
once more (cts.2, and).
(b) Repeat all (a) (cts.1, and, 2, and). Finish facing same direction as in the starting position.
This step is also executed with both feet flat on the floor.

16. CONTRAGANSA. Music: 2/4 time. Counts 1, and, 2,

Leap sideward right (left) onto R (L) foot (ct. 1), step L (R) across the R (L) in front (ct. and),
quickly step the R (L) foot in place (cts. 2). This is most commonly done sideward.

17. PLAIN POLKA. Music: 2/4 time. Counts 1, and, 2, and (1 measure).
Step L (R) foot in fourth in front (ct. 1), step R (L) close to L (R) foot in third in rear (ct. and), step
L (R) in fourth in front (ct. 2), pause (ct. and). Bend the body to the same direction of the step.
This may be executed in any direction.

18. HEEL AND TOE POLKA. Music: 2/4 time. Counts 1, 2, 1, and, 2, and (2 measures).
Place the L (R) heel in fourth in front (ct. 1), touch the L (R) toe in fourth in rear (ct. 2). Take one
plain polka step forward, starting with the L (R) foot (cts. 1, and, 2, and). This may be executed
forward and backward and in oblique directions.

19. HOP POLKA. Music: 2/4 time. Counts I, and, 2, and (1 measure)
It is a plain polka preceded by a hop before the first count of the music. The hop may be designated
in the music by a grace note. Execute the step in the same manner as the plain polka.
Hop on the L (R) foot and step R (L) forward (ct. 1), step L (R) close to R (L) in third in rear (ct.
and), step R (L) foot forward (ct. 2) and pause (ct. and) .This may be executed in any direction

20. BRINCOS CON PUNTILLAS. Music: 2/4 time. Counts 1, and 2; and.
Jump and land with R (L) foot across L (R) in front, both feet flat on the floor (ct.1), hop on L (R)
and foot circle outward in the air with R (L) foot (ct. and), step lightly on ball of R (L) foot in rear
of L (R) and raise heel of L (R) (ct.2), spring on R (L) and land on L (R) and at the same time point
R (L) toe in front of L (R) with R (L) knee slightly bent(ct. and).

31
21. BRINCOS CON VEULTAS. Music: 2/4 time. Count 1, and 2, and to a measure (2 measures).
Same as brincos con puntillas but make a quarter-turn right (left) when hopping on L (R) on the
first ct. and. Make another quarter-turn right (left) before stepping on the ball of R (L) foot in rear
of L (R) on ct. 2. There are two brincos con vueltas to make a complete turn.

22. “HAPLIK STEP”. Music: 2/4 time. Count 1, 2, or 1, and 2, to a measure (8M).
(a) Take two steps forward R (L) (cts.1 , 2)……………………………………….….1M
(b) Hop on L, raise the R knee in front and swing the R foot to left (ct. 1) hop on the L and
swing the R foot obliquely forward right(ct. 2) ……..………………………….1M
(c) Make a three-step turn right in place, starting with the R foot (cts. 1, and, 2)….1M
(d) Repeat (b), hopping on the R and swinging the L foot……………………...…..1M
(e) Repeat (c), turning left, starting with the L foot……………………………..….1M
(f) Repeat (b)………………………………………………………….....................1M
(g) Take two steps backward (R, L), (cts. 1,2)…………………….….…………....1M
(h) Close R to L foot in first position (ct.1), pause (ct. 2)..........................................1M
This step originated from Visayan region.

V. Learning Enhancement

Activity 1
Performance Task

Instructions:
a. Practice and master the 22 dance steps in 2/4-time signature.
b. Interpret movement combinations according to group number
- Movement combination
Group 1 – Combination 1
Group 2 – Combination 2
Group 3 – Combination 3
Group 4 – Combination 4
Group 5 – Combination 5

c. Choose accompaniment in 2/4 time signature.

d. Rubric is provided below.
Rubrics in Dance Steps Assessment
Always able to demonstrate dance steps and directions with no errors.
Exceeds Expectations ▪ understands and follows all dance steps and directions given
5 points ▪ accurately performs all dance steps with ease
Mostly able to demonstrate dance steps and directions with few errors.
Fully Meets Expectations ▪ understands and follows most dance steps and directions
4 points ▪ accurately performs most dance steps, but struggles at times
Meets Expectations Sometimes able to demonstrate dance steps and directions with some
(minimal level) errors.
3 points ▪ understands and follows some dance steps and directions
▪ accurately performs some dance steps, struggles often
Rarely able to demonstrate dance steps and directions with many errors.
Not Yet Within Expectations ▪ understands and follows few dance directions,
2 points ▪ accurately performs few dance steps, always struggles and looks
overwhelmed

32
 Dance Step Combination in 2/4 time signature
Combination 1 Measures
1. Step Swing alternately R (L) 4M
2. Mincing forward 2M and backward 2M 4M
3. Heel and Toe Change Step forward 4M and backward 4M 8M
4. Contradansa alternately R(L) 8M
5. Brincos Con Vueltas 4M clockwise and 4M counterclockwise 8M
6. Haplik step
a. starting with the R foot 8M 16M
b. starting with the L foot 8M
Combination 2
1. Skip Steps alternately R(L) 4M
2. Shuffling forward 2M and backward 2M 4M
3. Cross-change Step 2M forward and 2M sideward R(L) alternately repeat forward and 8M
sideward 4M 8M
4. Plain Polka forward 8M 8M
5. Brincos Con Puntillas 4M R foot and 4M L foot
6. Haplik step 16M
a. starting with the R foot 8M
b. starting with the L foot 8M
Combination 3
1. Cut Step 2M R(L) and L (R) 2M 4M
2. Chasing 2M R foot leading and 2M L foot leading 4M
3. Korriti Step 4M sideward R and 4M sideward L 8M
4. Heel and Toe Polka 8M forward 8M
5. Brincos Con Vueltas 4M clockwise and 4M counterclockwise 8M
6. Haplik step
a. starting with the R foot 8M 16M
b. starting with the L foot 8M
Combination 4
1. Rocking Step 2M R(L) raise and 2M L(R) raise 4M
2. Habanera Step 2M forward and 2M backward 4M
3. Korriti Turn 4M clockwise and 4M counterclockwise 8M
4. Hop Polka 4M forward and 4M backward 8M
5. Brincos Con Puntillas 4M R foot and 4M L foot 8M
6. Haplik step
a. starting with the R foot 8M 16M
b. starting with the L foot 8M
Combination 5
1. Gallop Step 2M sideward R and 2M sideward L 4M
2. Change Step 4M moving forward and 4M moving backward 8M
3. Pivot Turn 2M clockwise and 2M counterclockwise 4M
4. Brincos Con Putillas 4M R foot and 4M L foot 8M
5. Brincos con Puntillas 4M clockwise and 4M counterclockwise 8M
6. Haplik step
a. starting with the R foot 8M 16M
b. starting with the L foot 8M
VI. References
Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
Gabao, Larry A., Reviewer for Licensure Examination for Teachers.
You have just finished module 5 that is good for 4 sessions. Congratulations!!!
33
 PERFORMANCE ASSESSMENT

Group _______ Dance ____________________ Date:_______

Name:

RUBRICS Score Remarks

Always able to analyze, interpret

Exceeds and demonstrate dance figures and
Expectations directions with no errors.
5 points
Mostly able to analyze, interpret
Fully Meets and demonstrate dance figures and
Expectations directions with few errors.
4 points
Sometimes able to analyze,
Meets interpret and demonstrate dance
Expectations figures and directions with some
(minimal level) errors.
3 points
Not Yet Within Rarely able to analyze, interpret
Expectations and demonstrate dance figures and
2 points directions with many errors.

Total

34
 MODULE 6
Dance Steps in ¾ Time Signature

I. Overview
Module 6 focuses on dance steps in the 3/4 time signature. It starts practicing warm-up
movements that specifically focus on the 3/4-time signature. This will help students to condition
their bodies and prepare them for the u

ming dance steps.

Once the warm-up is completed, we will analyze and interpret the dance steps in 3/4-time
signature. This involves understanding this time signature's rhythm, timing, and movement patterns.
Through demonstrations and exercises, students will better understand how to execute these steps
correctly and effectively.
Finally, the module will conclude with students actually performing the 3/4-time signature
dance steps. Emphasis will be placed on executing the steps with ease and fluidity, showcasing the
skills and knowledge acquired throughout the module.
This module is designed to span over four days, with 90% of the students completing the
work in groups. The remaining 10% can be allocated for class or individual discussions.

II. Desired Learning Outcomes

Throughout the module, students are expected to:
c. perform warm-up movements in ¾ time signature for body conditioning;
d. analyze and interpret 3/4-time signature dance steps; and
e. easily perform the 3/4-time signature dance steps.

III. Learning Content and Tasks

This module emphasizes the importance of basic warm-up movements in a 3/4-time signature
to prepare the body for strenuous dance activities. These warm-up movements are crucial in raising
the internal body temperature, increasing heart rate, and improving muscle blood flow. As a result,
dancers can perform dance movements more effectively and efficiently.
Furthermore, this module teaches the fundamental dance steps in 3/4-time signature. By
understanding and practicing these steps, dancers will establish a common reference for dance steps,
guiding them in interpreting and executing dance literature.
Now, let us begin the journey of understanding and performing the 3/4-time signature
movements. Through guided instructions and practice, dancers will develop a solid foundation in
this time signature, enabling them to express themselves confidently through dance.

Warm-up 1
a. Lunge position push arms forward ------------------------------------------------------------2M
b. Arms pull in front of the body and straighten the bent knee in a stride position---------2M
c. Arm swing R and L alternately ----------------------------------------------------------------4M

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 d. Repeat to the Left a-c ----------------------------------------------------------------------------8M
e. Repeat a-c twice --------------------------------------------------------------------------------16M

Warm-up 2
a. Saroc alternately R and L -----------------------------------------------------------------------2M
b. Raise leg in front alternately R and L 1M per side , trunk bend forward touching the leg -----2M
c. Arabesque L and R , arms in opposite direction forward ------------------------------------2M
d. Salok L to turn 2M and to the R 2M -----------------------------------------------------------2M
e. Repeat a-d to the left -----------------------------------------------------------------------------8M
f. Repeat a-e twice---------------------------------------------------------------------------------16M

Warm-up 3
a. R leg point forward and arms in first position ------------------------------------------------1M
b. R leg point sideward and arms in second position -------------------------------------------1M
c. R leg point back and arms in fifth position ----------------------------------------------------1M
d. Arch trunk back and raise R leg back ----------------------------------------------------------1M
e. Repeat a-d to the Left -----------------------------------------------------------------------------4M
f. Repeat a-e -----------------------------------------------------------------------------------------8M
g. Repeat a-f -----------------------------------------------------------------------------------------16M

36
 Dance Steps Time Measure Step Pattern
Signature

1. Waltz Step ¾ 1M Step, close, step in place

1 2 3

2. Waltz Balance ¾ 1M Step, close-heels raise, heels down

1 2 3

3. Cross-waltz ¾ 1M Cross-step, close , step

1 2 3

4. Cross-step ¾ 2M Step, cross-step so on 1,2,3 continuous

1 2,3
1,2 3

5. Mazurka ¾ 1M Slide, cut, hop

1 2 3

6. Redoba ¾ 1M Slide, cut, cut

1 2 3

7. Sangig Step ¾ 1M Step R sideward (1) close L to R (2) and

circle R on air counter clockwise (3) 1M

Step, close, circle

1 2 3

8. Engano with a Raise ¾ 2M Step, cross-step, step, raise

1,2 3 1 2,3

9. Engano with a Close ¾ 2M Step, cross-step, step, close

1,2 3 1 2,3

10. Engano with a Waltz ¾ 2M Step, cross-step, step, close, step

1,2 3 1 2 3

37
 Dance Steps Time Measure Step Pattern
Signature

11. Itik-Itik ¾ 1M No. 1 Step, Ball-close

Step (R), heel raise, ball-close (L)
1 2 and 3

No. 2 Heel, Close-ball, Close

Heel-step (R), close (L), ball-step (R), close (L)
1 2 and 3

No. 3 Step, Heel-close, Ball-close

Step (R), Heel-step (L), close (R), ball-step(L), close (R)
1 2 and 3 and

12. Sway balance with ¾ 2M Step, cross-step, step, point

a Point 1,2 3 1 2,3

13. Sway balance with ¾ 2M Step, cross-step, step, brush

a Brush 1,2 3 1 2,3

14. Sway balance with ¾ 2M Step, cross-step, step, raise

a Raise 1,2 3 1 2,3

15. Sway balance with a ¾ 2M Step, cross-step, step, close

Close 1,2 3 1 2,3

16. Sway balance with a ¾ 2M Step, cross-step, step, close, step

Waltz 1,2 3 1 2 3

17. Engano with a Point ¾ 2M Step, cross-step, step, point

1,2 3 1 2,3

18. Engano with a ¾ 2M Step, cross-step, step, brush

Brush 1,2 3 1 2,3

38
 Fundamental Dance Steps in ¾ time signature

1. WALTZ STEP. Music: 3/4 time. Counts 1, 2, 3.

Step L (R) foot in fourth in front (ct. 1), step R (L) close to L (R) in first or third position in rear
(ct. 2), step L (R) in fourth in front (ct. 3). This may be executed in all directions

2. WALTZ BALANCE. Music: 3/4 time. Counts 1, 2, 3.

Step R (L) in fourth or intermediate in front (ct. 1), close L (R) foot to R (L) in first or third
position in rear and raise heels (ct. 2), lower heels with the weight of th body on the R (L) foot (ct.
3). The knees are slightly bent before raising the heels. This may be executed forward, backward,
obliquely forward and backward, sideward right and left.

3. CROSS WALTZ. Music: 3/4 time. Counts 1, 2, 3.

Step R (L) foot across the L (R) in front and raise slightly the L (R) foot across in rear (ct. 1),
step the L (R) close to R (L) in third or fifth position in rear (ct. 2), step R (L) foot in fourth in front
(ct. 3). Step on the ball of the rear foot on the second count.

4. CROSS-STEP. Music: 3/4 time. Counts 1, 2, 3.

Step R (L) in second position (ct. 1), Step L (R) foot across the R (L) in front (ct. 2,3) continuous
R (L).

5. MAZURKA STEP. Music: 3/4 time. Counts 1, 2, 3.

Slide R (L) foot in second (ct. 1), cut R (L) sideward with the L (R) foot (ct. 2), hop on the L (R)
foot and beat in rear or in front the R (L) foot close to the ankle of the L (R) foot (ct. 3). This step
may be executed forward, obliquely forward, sideward or going around also with one foot lending.
Note: It is most important that the cut be finished with an absolutely straight knee in order that
the final action may bring out the knee-bent position.

6. REDOBA STEP. Music: 3/4 time. Counts 1, 2, 3.

Step R (L) foot in second position (ct. 1), cut R (L) foot sideward with the L (R) (ct. 2), cut L
(R) with the R (L) foot and raise the L (R) foot in rear of the R (L) knee (ct. 3).

7. SANGIG STEP. Music: ¾ time. Counts 1, 2, 3.

Step R (L) foot sideward (ct. 1), step L (R) close to R (L) in first position (ct. 2), foot circle
counterclockwise in the air with R (L) foot (ct. 3). This step starts always with the same foot. It
originated from Visayan region.

8. “ITIK-ITIK” STEP. Music; ¾ time.

a. Step, Ball-close, count 1, 2, and 3.
Step L (R) forward (ct.1), raise the heel of the L (R) foot and slide the R(L) close to the L (R) in
fifth or in third position in rear (ct. 2), small step forward on the ball of the L(R) foot (ct. and) and
slide R (L) close to L(R) in third position in rear (ct. 3). This step is done with one foot leading,
going forward.
b. Heel, Close-ball, Close. Counts 1, 2, and 3.
Step with the L (R) heel forward (ct.1), slide the R (L) close to the L (R) in fifth or third position
in rear (ct. 2), small step forward with the ball of the L (R) foot (ct. and), slide the R (L) close to the
L (R) in the fifth or third position in rear (ct.3). This is done with one foot leading, going forward.

39
 c. Step, Heel-close, Ball-close. Counts 1, 2, and 3, and.
Step L (R) forward (ct. 1), step forward on the heel of the R (L) foot (ct. 2) slide the L(R) close
to the R (L) in fifth or third position in rear (ct. and), small step forward on the ball of the R (L) foot
(ct. 3), slide the L (R) to close with the R (L) in fifth or third position in rear (ct. and). This is done
with alternate foot, going to any direction.

9. SWAY BALANCE with a POINT.

Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures).
a) Step R (L) foot obliquely forward right (left) (ct. 1, 2), step L (R)across the R (L) foot in
front (ct. 3).
b) Step R (L) obliquely backward right (left) (ct. 1), point L (R) in fourth in front (ct. 2, 3)
Open arms sideward at shoulder level on the first three counts (cts. 1, 2, 3), bend forearms
forward and bring hands close to chest on the next three counts (cts. 1, 2, 3), arms in fourth position,
R (L) arm high. Arms in fourth position R (L) arm high. Kumintang R (L) hand when pointing with
the L (R) foot on (cts. 2, 3) of the second measure.

10. SWAY BALANCE with a BRUSH.

Music: 3/4 time. Count 1, 2,3 to a measure (2 measures)
(a) Step R (L) foot obliquely forward right (left) (ct. 1, 2), step L (R)across the R (L) foot in
front (ct.3)
(b) Step R (L) obliquely backward right (ct. 1), brush L (R) foot forward (cts. 2, 3).

11. SWAY BALANCE with a RAISE. Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures)
(a) Step R (L) foot obliquely forward R (L) (ct. 1, 2), step L (R)across the R (L) foot in front
(ct.3)
(b) Step R (L) obliquely backward R (L) (ct. 1), raise L (R) knee in front (cts. 2, 3). Bend body
slightly forward on ct. 1, and raise gradually upward to erect position on cts. 2, 3.

12. SWAY BALANCE with a CLOSE. Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures)
(a) Step R (L) foot obliquely forward R (L) (ct. 1, 2), step L (R) across the R (L) foot in front
(ct.3)
(b) Step R (L) obliquely backward R (L) (ct. 1), close L (R) knee in front (cts. 2, 3).

13. SWAY BALANCE with a WALTZ. Music: 3/4 time. Count 1, 2, 3 to a measure (2 measures)
(a) Step R (L) foot obliquely forward R (L) (ct. 1, 2), step L (R) across the R (L) foot in front
(ct.3)
(b) Step R (L) obliquely backward right (left) (ct. 1), close L (R) (ct. 2), step R (L) (ct. 3).

14. ENGAÑO with a POINT. Music: 3/4 . Count1, 2, 3 to a measure (2 measures).

a. Step R (L) foot in second position (cts. 1, 2), step L (R) across the R (L) foot in front (ct. 3).
b. Step R (L) foot in second position (ct. 1), point L (R) to R (L) foot in fourth (cts. 2, 3).
Do not put weight on the L (R) foot when closing on counts 2,3. Arms in third or in fourth
position, R (L) arm high or one arm in reverse “T” and the other bent forward at shoulder level.

15. ENGAÑO with a BRUSH. Music: 3/4 . Count1, 2, 3 to a measure (2 measures).

a. Step R (L) foot in second position (cts. 1, 2), step L (R) across the R (L) foot in front (ct. 3).
b. Step R (L) foot in second position (ct. 1), Brush L (R) to R (L) foot in 3rd (cts. 2, 3).

40
16. ENGAÑO with a RAISE. Music: 3/4 . Count1, 2, 3 to a measure (2 measures).
a. Step R (L) foot in second position (cts. 1, 2), step L (R) across the R (L) foot in front (ct. 3).
b. Step R (L) foot in second position (ct. 1), raise L (R) to R (L) foot in front (cts. 2, 3).

17. ENGAÑO with a CLOSE. Music: 3/4 . Count1, 2, 3 to a measure (2 measures).

a. Step R (L) foot in second position (cts. 1, 2), step L (R) across the R (L) foot in front (ct. 3).
b. Step R (L) foot in second position (ct. 1), close L (R) to R (L) foot in first (cts. 2, 3).

18. ENGAÑO with a WALTZ. Music: 3/4 . Count1, 2, 3 to a measure (2 measures).

a. Step R (L) foot in second position (cts. 1, 2), step L (R) across the R (L) foot in front (ct. 3).
b. Step R (L) foot in second position (ct. 1), step L (R) close to R (L) foot (cts. 2), step R (L) in
place (ct. 3) (waltz step in place).
Arms in third position R (L) arm high or one arm in reverse “T” position and the other bent
forward at shoulder level or in fourth position R (L) arm high. This step originated from the
Bicol region.

V. Learning Enhancement
Activity 1
Performance Task

Instructions: For performance tasks, please follow the instructions listed below:

a. Perform the dance steps combination according to your assigned group number.
b. Practice and rehearse these steps to ensure accuracy and synchronization within your
group.
c. Choose a piece of music in a 3/4 time signature to accompany your performance.
d. Refer to the rubric provided below. It outlines the criteria and expectations that will
be used to evaluate your execution of the dance steps in the 3/4 time signature.

Rubrics in Dance Steps and Directions

Always able to demonstrate dance steps and directions with no errors.
Exceeds Expectations ▪ understands and follows all dance steps and directions given
10 points ▪ accurately performs all dance steps with ease
Mostly able to demonstrate dance steps and directions with few errors.
Fully Meets Expectations ▪ understands and follows most dance steps and directions
8 points ▪ accurately performs most dance steps, but struggles at times
Meets Expectations Sometimes able to demonstrate dance steps and directions with some
(minimal level) errors.
6 points ▪ understands and follows some dance steps and directions
▪ accurately performs some dance steps, struggles often
Rarely able to demonstrate dance steps and directions with many errors.
Not Yet Within ▪ understands and follows few dance directions,
Expectations ▪ accurately performs few dance steps, always struggles and looks
4 points overwhelmed
Note: The rubric provided will be a reference for evaluating your performance based on set criteria.

41
 Dance Step Combination in 3/4 time signature
Measures
Combination 1

1. Waltz Step 2M forward, 2M backward and 4M alternately R (L) 8M

2. Redoba 8M alternately R (L) 8M
3. Sway Balance with a point 16M sideward R(L) alternately 16M
4. Engano with a Brush 16M sideward R(L) alternately 16M

Combination 2

1. Waltz Balance 2M forward, 2M backward and 4M alternately R (L) 8M

2. Sangig 4M sideward R and 4M sideward L 8M
3. Sway Balance with a Brush16M sideward R(L) alternately 16M
4. Engano with a Point 16M sideward R(L) alternately 16M

Combination 3

1. Cross-waltz 4M forward and 4M sideward R and L alternately 8M

2. Itik-itik No. 1 4M obliquely forward R and 4M obliquely forward L 8M
3. Sway Balance with a Raise 16M sideward R(L) alternately 16M
4. Engano with a Close 16M sideward R(L) alternately 16M

Combination 4

1. Cross-step 4M continuously sideward R and 4M continuously 8M

sideward L 8M
2. Itik-itik No. 2 4M obliquely forward R and 4M obliquely forward L 16M
3. Sway Balance with a Close 16M sideward R(L) alternately 16M
4. Engano with a Waltz 16M sideward R(L) alternately

Combination 5

1. Mazurka 4M continuously R and 4M continuously L 8M

2. Itik-itik No. 3 8M obliquely forward R and L foot alternately 8M
3. Sway Balance with a Waltz 16M sideward R(L) alternately 16M
4. Engano with a Raise 16M sideward R(L) alternately 16M

VI. References
Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
Gabao, Larry A., Reviewer for Licensure Examination for Teachers.

You have just finished module 6 that is good for 4 sessions.

Congratulations!!!
42
 MODULE 7
Dance Steps in ¾ & 4/4 Time Signature

I. Overview
Module 7 is the continuation of ¾ and 4/4-time signature dance steps. This involves
understanding these time signatures' rhythm, timing, and movement patterns. Through study,
observation, and practice, students will develop the ability to analyze and interpret these dance steps
accurately. Building on the knowledge gained in the previous modules, students will refine their
technique and execution of these dance steps. They will focus on performing the steps smoothly and
confidently, demonstrating a solid command of the time signatures. Students will engage in various
exercises, drills, and choreography throughout this module to further reinforce their understanding
and expertise in these time signatures. They will receive feedback and guidance from their instructor
to continuously improve their performance. The students will have expanded their repertoire of
dance steps and developed a greater understanding of dance interpretation within the context.
This module is designed to span over two days, with 90% of the students completing the
work in groups. The remaining 10% can be allocated for class or individual discussions.

II. Desired Learning Outcomes

By the end of this module, students are expected to achieve the following objectives:
a. analyze and interpret dance steps in 3/4 and 4/4-time signatures, and
b. perform the 3/4 and 4/4-time signature dance steps with ease.

III. Learning Content and Tasks

This module focuses on the importance of the 3/4 and 4/4-time signature dance steps. It aims
to provide students with the necessary knowledge and skills to perform these steps proficiently.
Mastering these fundamental dance steps is essential as they are the foundation for analyzing,
interpreting, and performing dance literature, whether published or unpublished.
Moreover, by mastering these dance steps, students can perform with ease and confidence.
Proper execution of the steps in the 3/4 and 4/4-time signatures will ensure a polished and
professional dance performance. Students engage in exercises and practice to refine their technique
and execution of these dance steps. They will receive guidance and feedback from their instructor to
improve performance.

FUNDAMENTAL DANCE STEPS IN ¾ TIME SIGNATURE

Dance Steps Time Measure Step Pattern

Signature
Done SWR/SWL continuously
1. Espunti Step ¾ 4M or a. Pivot L ball and point R foot SWR
More 1
b. Pivot L heel, and point R foot in 4th position/ in front
2,3

2. Papuri ¾ 4M a. Step R, Cross-step L, Point R continuously SWR/L 4M

1 2,3 1,2,3

43
 Dance Steps Time Measure Step Pattern
Signature

3. Sagamantica ¾ 4M a. Step R (L), close L (R) forward 2M

1 2,3
Step 1,2 3
b. Step R backward, close L 1M
1 2,3
1,2 3
c. Raise L foot and place heel in front 1M
1 2,3

a. Waltz balance forward and backward

¾ 4M step, close-heel raise, heels down F & B 2M
4. Paso Espanol 1 2 3
b. Step-swing-brush-hop forward
Step, brush-swing, hop R (L) 2M
1 2 3

a. Cross to Point R foot over L (Sarok), step R in 2nd position

¾ 4M 1,2 3 1M
5. Bacui Step b. Cross-step L in rear, step R in 2nd position
1,2 3 1M
c. Cross-step L over R foot, step R in 2nd position
1,2 3 1M
d. Close L to R foot
1,2,3

a. Change step forward, cross-step,

¾ 2M Step, close, step, cross-step 1M
6. Kuradang 1 and 2 3
b. Change step backward and point
Step, close, step, point 1M
1 and 2 3

7. Double Sway
Balance ¾ 4M a. Step, cross-step, step, point 2M
1 2,3 1 2,3
b. Cross-step, step, point 2M
1, 2 3 1,2,3

¾ 16M e. Step R (L), heel-brush L (R), heel-step L (R) 1M

1 2 3
8. Mudansa Step f. Step R (L) close L (R), heel-brush L(R), heel-step L(R) 1M
1 2 3
g. Step R (L) close L (R), heel-brush L(R) 1M
1 2,3
d. Repeat a-c to the L 3M
e. Repeat a-d 6M
f. Two waltz steps backward R(L) & L(R) 2M
g. Waltz turn R (L) Step, close, step, step, close, pause 2M
1 2 3 1 2 3

44
 FUNDAMENTAL DANCE STEPS IN ¾ TIME SIGNATURE

1. “ESPUNTI” STEP: Music: ¾ time. Count 1, 2, 3 to a measure. (As many measure as required).
TO LEFT:
Starting position- feet in first position. Move the L heel sideward left without lifting the toes
(pivoting or pushing on the ball of the L foot) and point R foot sideward right (ct. 1), lift the toe of
the L foot and move it sideward left (pivoting or pushing on the heel of the L foot) at the same time
point the R foot to fourth position in front (cts. 2, 3). Repeat as many times as required.
This may also be done by pointing sideward for two counts and forward for one count.
TO RIGHT: Repeat above, starting with the other foot moving to the sideward right. Pivot
on the R foot and point with the L foot. This step originated in the Visayan region.

2. “PAPURI” STEP. Music: ¾ time. Count 1, 2, 3, to a measure. (4 measures).

(a) Step R (L) foot in second position (cts.1,2), step the L (R) sideward right (left) across the R (L)
in front (ct. 3). Point R(L) foot sideward left (right) across the L (R) in front(cts.1, 2, 3)…..2M
(b) Repeat (a) once more, putting the weight of the body on the R (L) foot on the last counts, or on
ct. 3 of the second measure………………………..…………………………………………2M
This step originated from the Tagalog region. 2M 2M

3. SAGAMANTICA STEP. Music: ¾ time. Count 1, 2, 3, to a measure (4 measures).

Step R (L) forward (ct. 1) close to R (L) (cts.2, 3), step L (R) forward (ct. 1), close R (L) to L (R)
(cts.2, 3). Step R (L) backward (ct. 1), close L (R) to R (L) (cts.2, 3). Raise L (R) foot in front with
knee straight (ct. 1), place L (R) heel in front (cts.2, 3).
This step originated from the Ilocos region.

4. “PASO ESPAÑOL” Music: ¾ time. Count. 1, 2, 3, to a measure. (4 measures).

(a) Waltz balance forward R (cts.1, 2, 3). Waltz balance backward L (cts.1, 2, 3)…………….2M
(b) Step-brush-swing-hop forward R (cts.1, 2, 3) and the same with the L foot (cts.1, 2, 3)… 2M

5. “BACUI” STEP. Music: ¾ time. Count 1,2,3, to a measure. (4 measures).

“BACUI” RIGHT. (“Sarok”) Point R foot across the L in front, bend body slightly forward and
cross hands down in front with the R hand (cts.1,2), step R foot in second position, trunk erect and
raise R arm to fifth position amplified(ct.3). Step the L foot across the R in rear, close the R arm to
fifth position(cts.1,2), step R in second position and open R arm to fifth position amplified(ct.3).
Step L foot sideward right across the R in front, close R, close R arm to fifth position (cts.1,2), step
R in second position and open R arm to fifth position amplified(ct.3). Close L to R in first position,
close R arm to fifth position (cts.1,2,3). The L hand remains on waist for the last three measures.
“BACUI” LEFT. Repeat the same movements, starting with the L foot, going sideward left.
Reverse the position of the arms.
This step originated from the Visayan region.

6. “KURADANG” STEP. Music: ¾ time. Count 1, and 2, 3, to a measure (2 measures).

Change step obliquely forward R (L) (cts. 1, and, 2), step L (R) across the R (L) in front (ct.
3), change step obliquely forward R (L) (cts. 1, and 2), point L (R) in front (ct.3).
2M 2M
This step originated from the Visayan region.

45
7. DOUBLE SWAY BALANCE STEP. Music: ¾ time. Count 1, 2, 3 to a measure (4
measures).
(a) Repeat the same movements in sway balance with a point (a and b) with the same arm
movements (2 measures).
(b) Step L (R) sideward right (left) across R (L) foot in front (cts.1, 2), step R (L) foot in second
position (ct. 3)
(c) Point L (R) in fourth in front (cts.1, 2, 3). Girls holding their, boys hands on waist for the last
two measure (b and c).

8. MUDANSA STEP. Music: ¾ time. Count 1, 2, 3, to a measure (16 measures).

(a) Step R (L) obliquely forward right and at the same time face half-right (half-left) (ct. 1),
brush L(R) heel obliquely forward right (left) (ct. 2), step on the L (R) heel obliquely forward
right (left) (ct. 3). Step R (L) close to L (R) heel (ct. 1), Brush L (R) heel obliquely forward
right (left) (ct. 2), step on the L (R) heel obliquely forward right (left) (ct. 3). Step R(L) close
to L (R) heel (ct. 1), brush L (R) heel forward (cts. 2, 3) …………………….3M
(b) Repeat (a) three more times, starting L, R, L (R, L, R) and facing obliquely left, right, left
(right, left, right)………………………………………………………….…………..…..9M
(c) Take two waltz steps backward R, L (L, R)……………….………………………….....2M
(d) Waltz turn right (left) to starting place (use two waltz steps………………………….....2M
For girl, L(R) hand on waist and R (L) hand holding skirt. For boy, both hands on waist. This step
starts with the same foot always, but desired to start with alternate foot, omit the last step and
pause only on count 3 of the sixteenth measure.
This step originated from the Ilocos region.

FUNDAMENTAL DANCE STEP in 4/4 Time Signature

Dance step Time Measure Step Pattern

Signature
1. Escotis 4/4 1M a. Step Sideward, Close, Step, Hop
1 2 3 4
2. Chotis 4/4 2M a. Brush R, raise in rear, Brush, Raise
1 2 3 4
b. Three steps turn R – Step, step, step, pause
1 2 3 4

FUNDAMENTAL DANCE STEP in 4/4 Time Signature

1. ESCOTIS. Music: 4/4 time. Counts 1, 2, 3, 4.
Step R (L) foot sideward (ct. 1), step L (R) close to R (L) (ct. 2), step R (L) sideward (ct. 3), hop
on R (L) in place and raise L (R) foot in rear with knee bent (ct. 4).
This may be done in any direction.

2. CHOTIS. Music:4/4 time. Count 1,2,3,4 to a measure (2 measures).

Brush R (L) obliquely forward or sideward (ct. 1), raise R (L) in fifth in front or in rear (ct. 2),
brush R (L) again as in count 1 (ct. 3), raise R(L) as in count 2 (ct. 4). Starting with the R (L) foot,
take three steps turning right (left) about in place (cts.1, 2, 3), pause (ct. 4). This may be done turning
to one direction only or to right and left alternately. The turn may be also a full turn around in place
to the right and left alternately.
46
V. Learning Enhancement
You are to perform the 8 dance steps in ¾ and 2 dance steps in 4/4 time signature. Please
follow the instructions provided in the activity below for your performance task.

Activity 1
Performance Task
Instructions:
a. Each group will analyze and interpret different dance step combinations 1-5 for groups 1-5,
respectively, and select an accompaniment.
b. Rubric is provided to guide you in the process of your performance video task.

Rubrics in Dance Steps and Directions

Always able to demonstrate dance steps and directions with no errors.
Exceeds Expectations ▪ understands and follows all dance steps and directions given
5 points ▪ accurately performs all dance steps with ease
Mostly able to demonstrate dance steps and directions with few errors.
Fully Meets ▪ understands and follows most dance steps and directions given,
Expectations watches others at times
4 points ▪ accurately performs most dance steps, but struggles at times
Sometimes able to demonstrate dance steps and directions with some errors.
Meets Expectations ▪ understands and follows some dance steps and directions, watches
(minimal level) others often
3 points ▪ accurately performs some dance steps, struggles often
Rarely able to demonstrate dance steps and directions with many errors.
Not Yet Within ▪ understands and follows few dance directions, always watches
Expectations others
1 points ▪ accurately performs few dance steps, always struggles and looks
overwhelmed

Practice Time: Analyze and execute these movements

¾ Time Signature Dance steps Measure
1. Espunti Step 4M continuously SWR and 4M continuously SWL 8M
2. Papuri 4M continuously SWR and 4M continuously SWL 8M
3. Sagamantica Step 8M 8M
4. Paso Espanol 8M 8M
5. Bacui Step 4M R and 4M L 8M
6. Kuradang 2M R and 2M L, repeat for 4M 8M
7. Double Sway Balance 4M R and 4M L 8M
8. Mudansa Step 16M starting with R foot and 16M starting with the L 32M
foot

4/4 Time Signature Dance steps Measure

1. Escotis 8M alternately R and L 8M
2. Chotis 2M R and 2M R repeat the steps 4M 8M

47
 Measure
Combination 1

1. Espunti Step 4M continuously SWR and 4M continuously SWL 8M

2. Papuri 4M continuously SWR and 4M continuously SWL 8M

3. Sagamantica Step 8M 8M

4. Paso Espanol 8M 8M

Measure
Combination 2

1. Bacui Step 4M R and 4M L 8M

2. Kuradang 2M R and 2M L, repeat for 4M 8M

3. Double Sway Balance 4M R and 4M L 8M

4. Mudansa Step 16M starting with R foot and 16M starting with the L 32M
foot

Measure
Combination 3

1. Espunti Step 4M continuously SWR and 4M continuously SWL 8M

2. Sagamantica Step 8M 8M

3. Bacui Step 4M R and 4M L 8M

4. Double Sway 4M R and 4M L 8M

Balance

48
 Combination 4 Measure

1. Papuri 4M continuously SWR and 4M continuously SWL 8M

2. Paso Espanol 8M 8M

3. Kuradang 2M R and 2M L, repeat for 4M 8M

4. Mudansa Step 16M starting with R foot and 16M starting with 32M
the L foot

Combination 5 Measure

1. Kuradang 2M R and 2M L, repeat for 4M 8M

2. Sagamantica Step 8M 8M

3. Double Sway Balance 4M R and 4M L 8M

4. Bacui Step 4M R and 4M L 8M

VI. References

Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
Gabao, Larry A., Reviewer for Licensure Examination for Teachers.

You have just finished module 7 that is good for 2 sessions. Congratulations!

49
50
 MODULE 8
Dance Literature

The Philippine Folk Dances

I. Overview
Module 8 focuses on the analysis, interpretation, and execution of figures in Philippine
Traditional/Folk Dance literature. This module will require you to read and understand the dance's
history and its associated music, costumes, and dance steps.
Throughout this module, you will also learn essential tips for interpreting dance figures and
gain suggestions for teaching folk dances effectively. Combining your knowledge of dance terms
and steps with understanding dance literature will allow you to analyze, interpret, and perform the
dance figures found in folk dance literature.

II. Desired Learning Outcomes

This module introduces the Philippine Traditional/Folk dance literature, tips for interpreting the
dance figures, and suggestions for teaching folk dances. Upon accomplishment of this module, the
students are expected to:
a. trace the history of the dance to understand its origin, cultural significance, and evolution.
b. analyze, interpret, and perform figures anchored on Dance Literature:
c. perform the figures with correct timing and synchronization to the accompanying music,
demonstrating a seamless connection between movements and music.

III. Learning Content and Tasks

Teaching the dance steps is another essential skill that will be developed in this module.
Whether working with published or unpublished materials, it is essential to break down the steps,
provide clear instructions, and guide dancers in learning and mastering the staging. Effective
teaching methods will be explored, considering the dancers' level and cultural context of the dance.

51
 It is essential to immerse yourself in the cultural and historical context of the dance, paying
attention to the details of the music, costumes, and movements. This understanding will enable you
to convey the story and essence of the dance accurately.
As you progress through this module, you will refine your performance skills and deepen
your appreciation for Philippine Traditional/Folk Dance. Remember, the interpretation and
execution of dance figures require attention to detail, proper technique, and an understanding of the
cultural significance of the dance.
Learn and apply tips for interpreting the dance figures, such as understanding the storyline,
portraying emotions, and embodying the character of the dance.

To begin the process of interpreting dance figures, here are the steps to follow:

1. Start by reading the history of the dance you are interpreting. This will provide valuable
insights into the dance's cultural context, significance, and intended meaning. Understanding
the background and origins of the dance will shape your interpretation.
2. Listen to the music accompanying the dance and carefully note the number of measures or
counts in each section. This will help you establish a structure and timing for your
movements. Listen to the music repeatedly, allowing yourself to internalize the rhythm and
become familiar with the transitions.
3. Analyze and interpret the dance figures in the choreography. Break down each figure,
studying the movements, positions, and transitions. Consider the emotions and intentions
behind each figure and how they contribute to the overall narrative or message of the dance.
4. Begin executing the first figure, applying your interpretation and focusing on proper
technique and execution. Practice the formation without music until you feel comfortable and
confident in performing it.
5. Once you have mastered the execution of the first figure, incorporate the music. Start
performing the figure with the music, ensuring your movements align with the rhythm and
timing. Pay attention to the relationship between your movements and the music, making any
necessary

The suggested procedure how to teach Traditional/folk dances

1. Break down the dance into smaller sections and teach each separately.
2. Demonstrate and explain the proper technique and posture for each step.
3. Provide feedback and corrections to students as they practice the steps.
4. Incorporate visual aids, such as diagrams or videos, to help illustrate the steps and formations.
5. Encourage students to ask questions and actively participate in learning.
6. Offer opportunities for students to practice the dance together as a group.
7. Provide regular opportunities for students to dance in front of an audience, such as during a
class showcase or a school event.
8. Continuously assess and evaluate students' progress and adjust the pace of the teaching
accordingly.
9. Reinforce the cultural significance and importance of the dance, and encourage students to
embrace and appreciate its traditions.
10. Encourage creativity and allow students to add their flair to the dance while maintaining the
integrity of the original movements and staging.

52
 Alitaptap

Source : Philippine folk dances volume 2

By Francisca Reyes Aquino
Meaning : Imitating the movements of Alitaptap, nocturnal insect
Dance culture : Christian lowland
Ethno linguistic group : Tagalog
Classification : Imitative

Background/context:
Alitaptap is a traditional folk dance that portrays the graceful movements of a firefly, a
nocturnal insect known for its illuminated abdomen. This dance originated in the province of
Batangas and showcases the beauty of the firefly's flickering lights on dark nights.

Dance Properties:
Costume:
Female : Balintawak
Male : Barong Tagalog and white trousers
Music : ¾ time
Composed of two parts: A and B.
Count : One, two three to a measure
Formation : Partners stand opposite each other about six feet apart.
Girl at partner’s right side when facing audience. One to any number
of pairs may take apart in this dance.

Dance Terms Dance Steps

- Kumintang - Waltz Steps
- Arms in Lateral Position - Three-step Turn
- Fluttering - Close step
- Dosido
- Tap
- Brush
- Point

53
 I
Music A

Partners face each other.

(a) Waltz sideward R and L. Girl holds skirt, boy places hands on waist ……………………..2M
(b) Stand in place and kumintang R (1M), free hand on waist………………………………….2M
(c) Repeat (a) and (b) three more times, starting L,R,L ……………………………………....12M

II
Music B

Partners face audience.

(a) Starting with R foot, take two waltz steps forward. Arms in lateral position moving right and left,
fingers fluttering…………………………….…...............................................................2M
(b) Point R foot obliquely forward right (1M), point R across the L in front (1M). Girl hold skirt,
boy’s hand on waist……………………………………………………………………….…2M
(c) Repeat (a), moving backward………...……………………………………………………...2M
(d) Execute a three-step turn right in place (1m) and pause (1m). Hands as in (b)………………2M
(e) Repeat all (a-d)……………………………………..………………………..…………….…8M

III
Music A

Partners face each other.

(a) Take two close steps sideward right. Arms in lateral position sideward right, kumintang with
both hands for every measure………………………………………………………….…… 2M
(b) Repeat (a) sideward left. reverse arm position…………………………………………..…..2M
(c) Do-si-do. Starting with R foot, take two waltz steps forward passing by each other’s R shoulder
and waltz steps backward passing by each other’s L shoulders. girl holds skirt, Boys hand on
waist………………………………………………………………………………………….4M
(d) Repeat all (a-c)……………………………………………………...……………………..…8M

IV
Music B

Partners face each other.

a) Step R sideward (ct.1), tap L twice in front (cts.2,3). Repeat the same, starting with L foot
(cta.1,2,3). Girl holds skirt, Boy’s hand on waist…………………………………….……...2M
b) Starting with R foot, take three steps forward, hands as in (a) (cts.1,2,3). Brush L forward
(cts.1,2,3). Finish in one line by each other’s L shoulder. Arms in fourth position, R arm
high…………………………………………………………………………………………..2M
c) Repeat (a) and (b), starting with L foot and moving backward in (b) reverse position of
arms……..………….. ……………………………………………………………….…..…..4M
d) Repeat (a) and (b)………………..……………………..………………………………….....4M
e) Starting with L foot, take two waltz steps backward to proper places. Arms in lateral position,
moving sideward left and right…………………………………………………………….…2M
f) Execute a three-step turn left in place and bow to each other or to audience. Hands as in
(a)………………………………………………...............................................................…..2M
54
V. Learning Enhancement
Activity 1
Performance Task
Instructions:
A. To analyze, interpret, and perform Alitaptap dance figures, follow the dance teaching
procedure outlined above:
1. Focus on dance figures by the group.
- Group 1 – History, dance terms, and basic steps
- Group 2 – Figure 1
- Group 3 – Figure 2
- Group 4 – Figure 3
- Group 5 – Figure 4
2. Analyze each figure's movement patterns, formations, and footwork.
3. Interpret the purpose and meaning behind each dance figure, relating it to the
portrayal of a firefly's movements.
4. Demonstrate and explain the steps and movements required for each figure,
ensuring clarity and understanding.
5. The group will teach the assigned task to the class and practice the dance figures.
6. Perform each dance figure with the music, emphasizing proper technique and
synchronicity.
7. Repeat the process for each dance figure until the entire Alitaptap dance is learned
and mastered.
B. The group output is assessed through criteria and expectations outlined in the rubrics,
ensuring you meet them in your actual demo-teaching.
C. Create an instructional video for each dance figure in the Alitaptap dance.
- In each video, provide verbal instructions and demonstrations of the step pattern,
counting, and movements required for that specific dance figure.
- Ensure that your instructions are clear, easy to follow, and aligned with the traditional
folk dance style of Alitaptap.
- Use visual aids or graphics to enhance the clarity of your instructions further.

RUBRICS - Dance Literature Performance Assessment

Always able to analyze, interpret and demonstrate dance figures and directions with
Exceeds Expectations no errors.
10 points ▪ understands and follows all dance steps and directions given
▪ accurately performs all dance steps with ease
Mostly able to analyze, interpret and demonstrate dance figures and directions with
Fully Meets Expectations few errors.
7 points ▪ understands and follows most dance steps and directions given,
▪ accurately performs most dance steps, but struggles at times
Sometimes able to analyze, interpret and demonstrate dance figures and directions
Meets Expectations with some errors.
(minimal level) ▪ understands and follows some dance steps and directions,
5 points ▪ accurately performs some dance steps, struggles often
Rarely able to analyze, interpret and demonstrate dance figures and directions with
Not Yet Within many errors.
Expectations ▪ understands and follows few dance directions,
3 points ▪ accurately performs few dance steps, always struggles and looks
overwhelmed

55
 Activity 2
Performance Task

Instructions: Video the entire dance figures accompanied with music:

1. Set up a suitable space for recording where you have enough room to perform the dance
figures.
2. Play the music and ensure that you are familiar with each dance figure's specific timing and
rhythm.
3. Perform each dance figure sequence, incorporating the appropriate steps, footwork, and
movements.
4. Maintain proper technique, posture, and execution throughout the performance.
5. Maintain a sense of gracefulness and fluidity as you transition from one dance figure

RUBRICS in Dance Performance and Musicality Assessment

Adapted and modified from https://www.rcampus.com/rubricshowc.cfm?code=NBA445&sp=true
Exceeds Expectations Always demonstrate dance figures and directions with no errors.
10 points ▪ accurately performs all dance steps with ease, and
▪ accurate in beat, tempo, rhythms of dance sequences.
Fully Meets Expectations Mostly demonstrate dance figures and directions with few errors.
8 points ▪ accurately performs most dance steps, but struggles at times
▪ shows a good understanding of tempo and beat, but sometimes
falls behind and/or speeds up in places or makes errors in rhythm.
Meets Expectations Sometimes demonstrate dance figures and directions with some errors.
(minimal level) ▪ accurately performs some dance steps, but struggles often
6 points ▪ shows a basic understanding of tempo and beat, but sometimes
falls behind and/or speeds up in places or makes errors in rhythm.
Not Yet Within Rarely demonstrate dance figures and directions with many errors.
Expectations ▪ accurately performs few dance steps, and always struggles
4 points ▪ attempts to keep a rhythm, but gets off beat and speeds up or falls
behind often. Doesn't follow beat in music.

VI. References
Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
Gabao, Larry A., Reviewer for Licensure Examination for Teachers.

You have just finished module 8 that is good for 4 sessions.

Congratulations!!!

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 MODULE 9
Banga/Maglalatik

I. Overview
In Module 9, you will learn about two Philippine traditional/folk dances - Banga is a
traditional dance from the province of Kalinga in Northern Luzon, specifically in the Gran Cordillera
region. It is exclusively performed by female dancers who are known as the Kalingas, often referred
to as the "peacocks of the north". The dance showcases the dancers' stunning appearance, vibrant
costumes, and beautiful movements. In the content section, we will further delve into the details and
significance of the Banga dance (Alcazaren, W. 2021)
On the other hand, National Commission for Culture and the Arts states that Maglalatik is an
indigenous dance that gets its name from the Filipino word "Latik," which means "fried coconut
milk curd." This coconut product is commonly used in Filipino snacks and cooking. The dancers in
Maglalatik are all male, and the dance involves using coconut shell halves. These shells are secured
onto the dancers' hands and vests, with additional covers attached to create sounds. The dancers hit
one coconut shell against the other, sometimes against their own bodies and occasionally against the
shells worn by another performer. The music for this dance is fast-paced. However, you will only be
required to perform one dance for Males (Maglalatik) and Females (Banga) for this module.

II. Desired Learning Outcomes

This module introduces the Philippine Traditional/Folk dance “Banga” and Maglalatik. Upon
accomplishment of this module, the students are expected to:
a. analyze the movements of each dance figure, paying attention to the timing and
synchronization with the music;
b. interpret the purpose and meaning behind each dance figure, taking into account the
cultural and historical context of the dance; and
c. demonstrate mastery and understanding of the dance figures by performing them with
confidence and accuracy.

III. Learning Content and Tasks

This module focuses on learning the Banga dance, an essential aspect of Kalinga culture. The
Kalinga tribe, described as tall, dark, and sturdy, has a long history as fierce warriors. The term
"Kalinga" originates from Ibanag and Gaddang languages, meaning headhunter, referring to their
practice of headhunting during tribal wars.
Budong is a vital institution for peace pacts among Kalinga tribes. Social gatherings are often
accompanied by music and dance, including the Banga dance. Maidens perform this dance by
balancing multiple heavy clay pots on their heads, symbolizing their daily task of fetching water.
They showcase their dexterity and stamina to the beat of gongs or wind chimes. Men also participate
by playing the "gangsa" flat gongs (Lumagbas, C. 2016).

57
 Banga

Background/ Context:
The Banga dance is performed by the friends of the highland maiden in celebration of her
upcoming wedding. It depicts fetching water with an earthen jar called "Banga." The dancers walk
in small bouncing steps, with a banga on their head, and held in place by a Dikin while extending
their right arm.

Etymology - "Banga" literally means clay pots, thus the dance came to be known as the “clay pot
dance”

Dance Properties
Dance Culture: Highland Cordillera
Place of Origin: Kalinga
Ethnolinguistic Group: Kalinga (Northern and Southern)
Classification: Festival
Props: Pile of clay pots (banga)of graduated sizes
Mood: Jovial
Stance: Erect
Performers: All girls; and musicians are males
Formation: Circle, line, column
Music: Pattong played by an ensemble of 6 Gangsa (flat gong),
each played by a musician who joins in the dance
Time Signature: 4/4

58
 Figures

a. Dancers walk with light bouncing movements as they turn around and move from side to side.
Footwork always begins with the right foot. The arm movements are very slight, consisting of
small swings while walking. …………………… 16M

b. Take a step and turn right with the same arm positions; walk to form two parallel lines. Repeat.
Walk to the center to merge into one straight line.

c. Stand straight, face the audience, and stretch your arms sideward with palm facing front and
wrists moving up and down.

d. Kneel on both feet as hands move downward to the lap. Stand slowly, making one movement
at a time.

e. Stamp to the right with the ball of the foot and brush to the left while in place.

f. Dancers step and turn to form two lines. Continue the movement as the dancers present the lead

dancer with the Banga.

Repeat some arm and stamping movements before the dance ends. Dancers walk one after the

other and then exit.

59
 Maglalatik/ Magbabao

Background/ Context:
The Maglalatik is an indigenous dance from Laguna that originated as a mock-war dance
during the Spanish rule. It depicts a fight between the Moros and Christians over coconut meat. The
dance has four parts, with the first two showing the intense battle and the last two portraying
reconciliation. According to legend, the Moros emerged victorious, but the Christians offered peace
and baptism. The best Maglalatik dancers are found in Zapote, and they perform this dance during
town fiestas and religious processions to honor the town's patron saint, San Isidro Labrador (National
Commission for Culture and the Arts).

COSTUME.
The dancers are all male. Moro dancers wear red trousers while the Christian dancers show
up in blue with harnesses secured vests hung four or six more coconut shell halves attached on their
chests, backs, thighs, and hips and carry a pair of halves shells too.
Coconut shells are attached to the dancers: two places on the front just below the shoulders,
two pieces at the back of the shoulders and two at the back of the waist, two pieces above the knees,
and one piece in each hand. The coconut shells at the shoulders (front and back) and waist are
circular, while those above the knees and those held by the arrows are triangular and attached to the
dancers. For grown-up boys, the torso may be bare and the trousers rolled up.

MUSIC.
It is divided into five parts: Introduction, A, B, C, and D. It was composed by the late Dr.
Francisco Santiago, especially for this dance. The original music for this dance was rhythmic sounds
produced by two bamboo sticks against each other with guitar accompaniment.

COUNTS: 1, and , 2, an or 1,2, to a mueasure in 2/4 time and 1,2,3 to a in ¾ time.

60
FORMATION.
During the performance of the Maglalatik dance, the dancers are arranged in two columns,
with the Christians on the left side and the Moros on the right side. The columns are spaced six feet
apart, and there is a distance of four feet between each dancer on the same side. A set typically
consists of four to six pairs of dancers. The dancers who face each other when in position are
considered partners.

Christians Moros

X 1 x
X 2 x
X 3 x
X 4 x

INTRODUCTION
In the Maglalatik dance, the dancers representing the Christians enter from the left side, while
those representing the Moros enter from the right side. They start by brisk walking or marching to
their designated places. The dancers strike the coconut shells held by the bands, beginning with the
right hand moving up and the left hand moving down. They continuously strike the shells on every
count of every measure, alternating the right and left movements until they reach their proper places.
Dancers from each side cross each other alternately in front and behind, resembling columns crossing
paths.

Steps Used:
a. Step Right foot forward and twist body to left (ct 1 or cts. 1, and) step Left in place and face front
( ct. 1 or cts. 1, and), step Left original place and face front (ct. 2 or cts. 2, and). -- 2M
b. Jump forward with feet together or with the Right foot a little bit ahead of the Left and twist
body to left (ct. 1 or cts. 1, and), step Left backward to original position and face front (ct. 2 or
cts. 2, and), step Right backward and twist body to right (ct. 1, or cts. 1,and), step Left in original
place and face front (ct. 2 or cts. 2, and)-------------------------------------------------2M
c. Jump forward with feet together or with the Right foot a little bit ahead of the Left and twist the
body to the left (ct. 1, or cts. 1, and) step Left backward to the original place and face front (ct.
2 or cts. 2, and), jump backward with the feet together or with the Left foot a little bit ahead of
the Right and twist the body to the right (ct. 1 or cts. 1, and), step Left forward to original position
and face front (ct. 2 or cts. 2, and)----------------------------------2 M. This is the same as step b but
with the jump forward and backward.

61
Note:
1. The knees are relaxed and slightly bent in all the above steps.
2. To move forward in Step, the R foot makes a more significant step forward than backward, and
the L steps ahead instead of in place.
3. To move forward in Steps b and c, make a more significant jump on than the backward jump,
and the L steps ahead instead of in place.

Hand Movements:
Note:
R (L) hand means the coconut shell held by the R (L) hand, R (L) hand, R, (L) knee means the
coconut shell attached above the knees and the same on the shoulders and waist. Strike R knee
with R hand (ct. 1), L knee with L hand (ct. end), front of L shoulder with R hand (ct. 2), front of R
shoulder with L hand (ct. end), back of R shoulder with R hand (ct. 1), back of L shoulder with L
hand (ct. end), back of waist at R side with R hand (ct. 2), back of waist at L side with L hand (ct.
end) ---------------------------------------------------------------------------------------------2M

ENTRANCE
MUSIC introduction.
a. The Christians enter from left side and the Moros from right side. Starting with R foot, walk or
march briskly to places. Strike coconut shells held by the hands against each other, starting with
R hand going upward and the L downward first.
b. Continue striking shells on every count of every measure wit Right (Left) and Left (Right)
moving upward and downward alternately until all are in proper places (See diagram below –
Moro, solid line and Christians continuous line).
c. Dancers from each side cross each other alternately in front and down in rear a their columns
cross each other -------------------------------------------------------------------------------------16M

62
 INTERLUDE
Music Interlude.
Face front
(a) Step Left in place (ct. 2 of 16th M of Introduction) --------------------------------------------1ct
(b) Execute Step I Four times. Arms in hayon- hayon, R and L in front alternately. Do not click
coconut shells. The R hand follows the movement of the R foot, that is, if the R foot is in front the
R hand is in front and it the R foot is in rear the R hand is in rear. The L hand does the same,
following the movements of the L foot.----------------------------------------------------------------8M

-I-
Music A.
Face front.
a.) Execute Step I four times in place. Do the hand movements----------------------------------8M
b.) Execute Step I four times, casting off , No. I’s on both sides leading. Do the same hand
movements -----------------------------------------------------------------------------------------------8M
At the end of this figure the leaders may be about the middle of the way only (of the former lines)

-II-
Music B First time.
a) Execute Step II four times until No. 1’s reach the foot of the former formation. Do the same hand
movements-----------------------------------------------------------------------------------------------------8M
b) Continue Step II four more times, No. 1’s turning inward . Do the same hand movements 8M

-III-
Music B. Second time.
a.) Execute Step III four times going to proper places. Do the same hand movements.-------8M
b.) Partners face each other, repeat (a) in place -----------------------------------------------------8M

INTERLUDE
Music C. First 8 measures. Partners face each other .
Repeat movements in the Interlude on the ENTRANCE.------------------------------------------8M

63
 -IV-
Music C. From 9th measure of first time and the whole second time.
Partners face each other.
a.) Starting with Right foot, take four steps forward to meet at center. Arms swinging naturally at
sides.------------------------------------------------------------------------------------------------------------2M
b.) Strike coconut shells in any part of partner’s body four times (4 cts.).----------------------------2M
c.) Starting with Right foot, take four steps forward to partner’s place, passing by Right shoulders.
Arms as in (a) (4 cts.).----------------------------------------------------------------------2M
d.) Turn right about and repeat (a)--------------------------------------------------------------------- 2M
e.) Repeat (b) ---------------------------------------------------------------------------------------------2M
f.) Repeat (c ) , going to proper places.----------------------------------------------------------------2M
g.) Repeat all ( a – f) -----------------------------------------------------------------------------------12M

Note: Instead of striking each other’s shells in (b) and (e) a stunt called baligtaran (back-to-back
roll) may be performed. Do the baligtaran alternately with coconut shell striking.

PAUSE
Music Introduction.
Turn Right shoulder toward partner ready for figure V. A good dancer in the group goes to center
to be soloist for the next figure.----------------------------------------------------------------------------2M

-V-
Music D. First time.
Circle dancers.
(a) Starting with Right foot, take sixteen waltz steps forward moving clockwise. Click own
coconut shells on cts. 2,3 of every measure, sideward right and left alternately.--------------16M
(b) Turn right about. Repeat (a), moving counterclockwise.-------------------------------------16M
Soloist. The soloist at center improvises his movements. He performs turns, leg-parting jumps,
stunts, or any dance steps. At times he weaves in and out of the circle dancers. Sometimes he
stands at the center to let the circle dancers strike him with their coconut shells.-------------32M

-VI-
Music D. Second time.
Circle dancers face center of circle.
Waltz forward Right, click coconut shells overhead on cts. 2, 3 (1 M), waltz backward L, arms
down at sides (1 M)------------------------------------------------------------------------------------- 2M
a.) Turn right about and repeat (a)---------------------------------------------------------------------2M
b.) Repeat (a) and (b), seven more times turning right about every two measures.-----------28M
Soloist. Continue improvising movements.---------------------------------------------------------32M

64
Note: In figures V and VI, the circle dancers and the soloist are doing their movements
simultaneously.

EXIT
Music A.
Execute Step I moving forward, Christians turning left and Moros turning right to exit. Do the
same hand movements.--------------------------------------------------------------------------------16M

V. Learning Enhancement
I. Instructions: Group sharing about the characteristics of Banga and Maglalatik

Activity 1
Performance Task
II. Instructions:
a. It is traditional for females to perform the Banga dance, while males typically perform
the Maglalatik dance.

b. The provided video links can serve as additional references. However, it is essential to
refer to credible literature or cultural sources for a comprehensive understanding and
interpretation of these dances.
- Banga
https://www.youtube.com/watch?v=08eXrO9s4Nk&list=RD08eXrO9s4N
k&start_radio=1&t=24
- Maglalatik - https://www.youtube.com/watch?v=do4GyUk3XKc

c. To analyze and interpret the Banga/Maglalatik dance figures, follow the teaching dance
process, which includes studying the dance's movements, gestures, and storytelling
elements. Understand the cultural context, symbolism, and significance behind each
figure.

d. Engage in practice sessions to master the Banga/Maglalatik dance figures while

incorporating the appropriate music. Pay attention to the timing, coordination, and
execution of movements, as well as the rhythm and energy of the dance.

e. It is recommended to review the rubrics these rubrics will outline the specific criteria and
expectations for your performance, helping you identify areas for improvement and
ensuring that you meet the desired standards.

65
 RUBRICS in Dance Performance and Musicality Assessment
Adapted and modified from https://www.rcampus.com/rubricshowc.cfm?code=NBA445&sp=true

Exceeds Expectations Always demonstrate dance figures and directions with no errors.
10 points ▪ accurately performs all dance steps with ease, and
▪ accurate in beat, tempo, rhythms of dance sequences.
Fully Meets Expectations Mostly demonstrate dance figures and directions with few errors.
8 points ▪ accurately performs most dance steps, but struggles at times
▪ shows a good understanding of tempo and beat, but sometimes
falls behind and/or speeds up in places or makes errors in rhythm.
Meets Expectations Sometimes demonstrate dance figures and directions with some errors.
(minimal level) ▪ accurately performs some dance steps, but struggles often
6 points ▪ shows a basic understanding of tempo and beat, but sometimes
falls behind and/or speeds up in places or makes errors in rhythm.
Not Yet Within Rarely demonstrate dance figures and directions with many errors.
Expectations ▪ accurately performs few dance steps, and always struggles
4 points ▪ attempts to keep a rhythm, but gets off beat and speeds up or falls
behind often. Doesn't follow beat in music.

VI. References
Alcazaren, W. (2021, March 9). 10 things you should know about the Kalinga tribe. CNN
Philippines. Retrieved from
https://cnnphilippines.com/life/culture/2021/3/9/kalinga.htmlAquino, Francisca R. (1980)
Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Gabao, Larry A., Reviewer for Licensure Examination for Teachers.
Lumagbas, C. (2016). Cultural Dance Forms as Expression of Artistry: A Case Study of Cagayan
State University. International Journal of Culture and History, 2(1), 62-77.
doi:10.18178/ijch.2016.2.1.044
National Commission for Culture and the Arts. (n.d.). Maglalatik. Retrieved from
https://ncca.gov.ph/about-culture-and-arts/culture-profile/giahs/maglalatik/
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
https://www.slideshare.net/AjAlesna/banga-philippine-folk-dance
https://jiebelle.weebly.com/maglalatik.html

You have just finished module 9 that is good for 4 sessions.

Congratulations!!!

66
 MODULE 10
Philippine traditional dances

I. Overview
Module 10 focuses on the five Philippine traditional/folk dances: Carinosa, Daling-daling,
Polka sa Nayon, Tinikling, and Tiklos. This dance is beloved for depicting the conservative and shy
behaviors often associated with Filipina women. Dancers have the freedom to wear various Filipino
costumes or attire during their performances. The dance is executed in a 3/4 time signature rhythm.
This module is designed for 4-day sessions, group performance tasks.

II. Desired Learning Outcomes

Students will be introduced to a Philippine traditional/folk dance in this module. By the end
of the module, students are expected to:
a. Trace the history of the dance;
b. Analyze, interpret, and perform figures; and
c. gain a deeper understanding of the cultural and artistic aspects of the dance, enabling
them to appreciate and engage in its interpretation and performance.

III. Learning Content and Tasks

The students will also explore and study the dance literature, analyzing the dance's
movements, gestures, and storytelling elements. Interpret and perform the figures within the dance,
adhering to the correct timing of the music accompaniment. This includes understanding the rhythm,
tempo, and coordination required for an accurate and expressive performance.
Throughout the module, students will gain a deeper understanding of the cultural and artistic
aspects of the dance, enabling them to appreciate and engage in its interpretation and performance.
Please note that the specific details of the dance, its history, music, and costumes will be
found on the following pages traditional/folk dance: Carinosa, Daling-daling, Polka sa Nayon,
Tinikling, and Tiklos being in this module.

Carinosa

67
 Meaning : Affectionate, lovable, or amiable
Dance Culture : Christian lowland
Place of Origin : Nation wide
Ethnolinguistic Group : Filipinos
Classification : Courtship dance

Background/ Context:
The Cariñosa is a Philippine folk dance that originated in Panay Island in the Visayas region.
The Spaniards introduced it during their colonization of the Philippines, and is part of the Maria
Clara suite of dances. The dance is related to Spanish dances like the bolero and the Mexican Hat
Dance. It is known for its flirtatious and affectionate movements, with dancers using fans and
handkerchiefs as props. The name Cariñosa means loving or affectionate. The dance involves hide-
and-seek movements and other flirtatious acts to express tender feelings between dancers. Although
many versions of the Cariñosa exist, the hide-and-seek movements are common in all.

Dance Properties:
Costume
Female: Balintawak style costume or patadlong and camisa. Girl has a fan hanging
at the right side of waist
Male : “barong tagalong”, any color of trousers. Boy has a handkerchief in his
pocket.
Music : 3/4 composed of two parts: A and B
Count : One, two, three to a measure

Formation : Partners stand opposite and facing each other about six feet apart. When facing the
audience, Girl at the right of Boy. One to any number of couples may take part in this dance.
Note: In the original form Figure 1 is used as an intermission. It is omitted in this arrangement for
it makes the dance long and monotonous.

INTRODUCTION

Music Introduction. Partners face each other.

(a) Execute a three-step turn right in place and bow to each other. Girl holds skirt, Boy places
hands on waist……………..…………………………………….……...……………..2M

68
 I
THREE STEPS AND POINT
Music A
(a) Starting with R foot, take three steps sideward right (cts. 1,2,3). Point L foot in front (cts
1,2,3). R hand in reverse “T” position and L hand on waist. Kumintang R hand when
pointing L foot…………………………………………………………….................2M
(b) Repeat (a) starting with the L foot and moving sideward left. Reverse position of hands.
…………………………………………………………………………………….....2M
(c) Repeat (a) and (b) three more times…………………………….……………………4M

II
POINTING
Music B
Partners face each other. Throughout this figure, Girl holds skirt and Boy places hands on
waist.
(a) Starting with R foot, take three steps forward to meet the center (cts.1,2,3). Step L close to R
(ct.1), pause (cts.2,3) …………...……..………………………..……….……………..…..2M
(b) Take four touch steps in front, R and L alternately. Look at each other……………….......2M
(c) Starting with the R foot, take four steps forward to partner’s place passing each other by R
shoulders (cts.1,2,3;1), turn right about to face each other and close R to L foot
(cts.2,3)……………………………………….……………………………………………..2M
(d) Repeat all (a-c) finishing in proper places……..………………………................................8M

III
BACK-TO-BACK
Music A
(a) Partners meet at center as in Figure II (a) (cts.1,2,3;1); turn right about to be in back-to back
position a little bit to right of partner (cts.2,3).Girl holds skirt, Boy places hands on waist
……………………………………………………..………………………………………...2M
(b) Point R foot in front and shake R index finger at partner over R shoulder, L hand on waist
(cts.1,2), step right sideward to be side-by-side with partner by L shoulder, place R hand on
waist (ct.3).Repeat three more times, pointing L,R,L and shaking L,R, index finger alternately
at partner and by L shoulders when shaking L index finger to partner. Free hands on waists
(3M) ………………………………..………….…………………........................................4M
(c) Turn R about and exchange places as in Figure II (c)………………………………………2M
(d) Repeat all (a-c) finishing in proper places…………………….................................……….8M

69
 IV
HIDE AND SEEK WITH FAN
Music B

(a) Partners meet at center in Figure II (a)……………………………………..………………2M

(b) Girl: Holds and open fan with R hand. Point right foot in front and cover face with fan, l hand
holding skirt (cts.1,2), step R close to L and put R hand down (ct.3), Repeat the same three
more times, pointing R,L,R. Cover face with fan on counts 1,2 of every measure
……………………………………………..…………………………………………..........3M
Boy: Points R and L foot alternately in front and looks partner from underneath the fan. Hands
on waists……………………...…………………………….…………...…….…………….4M
(c) Exchange places as in figure II (c)……………………………………………......................2M
(d) Repeat all (a-c), finishing in proper places……………………………..……….…………..8M

V
KNEELING AND FANNING
Music A
(a) Starting with R foot, take three steps forward to center, Girl holds skirt, Boy places hands on
waist (cts.1,2,3). Girl knees on R while Boy passes around on R of Girl to stand behind her and
faces the same direction as Girl. Partners place hands on waists (cts.1,2,3)
……….………………………………………………………………..………………..........2M
(b) Boy: Points R and l foot four times alternately in front, looking at Girl over her R and L shoulder
alternately.
Girl: Looks at partner over her R and L shoulder alternately. Places hands on waists……...4M
(c) Boy: Turns right about.
Girl: Stands and exchange places as in Figure II (c)…………..……………….……............2M
(d) Repeat all (a-c) but this time Boy kneels down and Girl fans boy over his R and L shoulder
alternately as she points her R and L foot alternately. Finish in proper places………….….8M

VI
HIDE AND SEEK WITH HANDKERCHIEF
Music B
(a) Partners meet at the center as in Figure II (a) (cts. 1,2,3;1), Boy takes Handkerchief from pocket.
Partners holds handkerchief at corners at a perpendicular position between their faces with Boy’s
hands on top of Face level cts.2,3)……………………………………………………………2M
(b) Partners point R and L foot alternately four times as in Figure II (b).Invert handkerchief at every
measure with Boy’s hands on top while Pointing R foot at the next measure with Girl’s hands at
the top while pointing with L foot. When own hands are down look at partners face from below
and when up, look above handkerchief…………………..........................................................4M
(c) Girl releases handkerchief. Partners exchange places as in Figure II (c)……………………....2M
(d) Repeat all (a-c) finishing in proper places. This time Girl keeps handkerchief at the end of this
figure…………………..…………………………………………………................................8M

70
 VII
FLIRTING WITH HANDKERCHIEF
Music A
Note: If only one pair is dancing, partners may go to any direction so long as they finish in
proper places at the end of this figure.
(a) Partners turn R shoulders toward each other. Starting with R foot, take eight waltz steps forward
moving around clockwise. Girl holds handkerchief at one corner and place it over her R shoulder
alternately at every measure, looking back at Boy at the same time. Boy follows behind Girl,
stretching out R and L hand alternately as if trying to catch the free end of handkerchief
…………………………………………………………………………………………..……8M
(b) Turn R about and repeat (a) counterclockwise, Girl leads again.
Finish proper places……………………..……..………………………….……..…………....8M

VIII
FLIRTING
Music B
(a) Starting with R foot , take two waltz steps to meet at the center.
Girl’s arms in lateral position moving sideward right and left, Boy’s Hands on waists …………..2M
(b) With girl leading in front, partners take six waltz steps forward moving around clockwise. Same
position of hands as in (a) but Girl’s fingers fluttering in time with the music as she looks over
her R and L shoulder alternately at Boy who is following her closely ……………………….6M
(c) Turn R about. Repeat (b) counterclockwise. This time Boy leads.
Girl holds skirt, Boy arms in lateral position, fluttering fingers. Wink at Girl once in a while.
Finish side by side, girl at R side of boy ..…………………………….……............................6M

SALUDO
Execute a three-step turn right in place and bow to each other, Girl holding skirt, boy’s hands
on waist…………………………………………....……………………........................................3M

71
 Daling-Daling

Source : Philippine folk dances volume 2

By FRANCISCA REYES AQUINO
Presentor : Antonio R. Li

Meaning : My love, my love

Dance culture : Non-Christian
Ethno linguistic group : Tausug
Classification : Courtship

Background/context:

Daling-Daling is a courtship dance from Jolo, Sulu. It is popular among the young people in
that area. The word "daling" translates to "my love," so the name of the dance means "my love, my
love." During the dance, the dancers sing, or the audience may sing while they perform. The song
expresses the deep care and affection between two lovers. The boy tells his unease when he is away
from the girl, stating there is no peace in his mind. The girl reassures him, saying that her love for
him would remain constant even if the islands physically separated them.

Dance Properties:

Costume : Dancers are dressed in typical Joloano costume. Girl and

Boy hold an open fan in each hand. The fans are held with
the second and third finger on the top side, and the thumb,
fourth and little fingers under on the other side.
Music : 2/4 Composed of one part of sixteen measure. It is
repeated as many times as necessary.
Count : One, two or one, and, two, and to a measure.
Formation : Partners stands about six feet apart from each other,
both facing front, Girl at right side. One to any number
of couples may take part in this dance.

72
Dance Step Used:

Point-Step
Point R foot in front (ct.1), step with same foot in place with a slight bending of knees
(ct.2)

Hand Movement:
With an open fan held in each hand, raise arms sideward at shoulder level with elbow
straight, but relaxed. Turn hands (from the wrists only) in a horizontal figure-eight
motion in two counts.

INTRODUCTION
Music Introduction
Starting with R foot, take three steps forward, hands down at sides (cts. 1,2; 1), face
each other and raise arms sideward (ct.2)…………………………………….… 2M

I
Music. Play once. Girl sings second verse.
(a) Partners execute four point-steps forward to meet at center, R and L alternately. Do the
figure-eight hand movement………………………………………........................ 4M
(b) Repeat (a) moving backward to proper places……………………………............. 4M
(c) Repeat (a)………………………..………………………………………………….4M
(d) Repeat (a) going to partner’s place passing by L shoulders. Finish in partner’s place,
facing each other, turning right about after the fourth step ……..………………... 4M

II

Music. Play once. Girl sings second verse

(a) Turn R shoulders toward each other. Take sixteen point-steps forward, R and L
alternately, going around clockwise. Finish in starting place, that is, in partner’s place.
Do the figure-eight hand movement……………………….………………….…16M

III

Music. Play once. Boy sings third verse.

(a) Repeat Figure I (a)………………………….……………………………... …….4M
(b) Partners join both hands with open fans still held in hands. Stand side by side by R
shoulders so that R arms are stretched at sides and L arms bent. Execute four point-
steps forward, R and L alternately, turning around clockwise………………….. 4M
(c) Reverse position, stand by L shoulders. Repeat (b) counterclockwise…………. 4M
(d) Repeat (a) going forward to proper places………………………………............ 4M

73
 IV

Music. Play once. Girl sings fourth verse.

Face each other.
(a) Repeat figure I (a)………………………………………………………………... 4M
(b) Girl: Close R fan. Stamp with R foot five times and at the same time point a partner
five times with R fan (ct.1, and,2, and; 1), pause (ct. and,2,) and the L hand is doing the
figure-eight movement at the same time for two measures.
Boy: In the meantime, execute point-steps in place, R and L, sway body to right and
left and look at partner. Do the figure-eight hand movement ……………………. 2M
(c) Repeat (b) three more times, Girl stamping always with R foot…………………...6M
(d) Starting with R foot, take three point-steps moving backward. Do the figure-eight hand
movement…………………………………………………………………………..3M
(e) Bow to each other, hands down at sides………………………………... …………1M

Note: The dance may be repeated as many times as desired. Bow only at the last time.

74
 Polka sa Nayon

Source : Philippine Folk Dances Volume 3

By FRANCESCA REYES AQUINO
Meaning : A ballroom polka in a barrio
Dance culture : Christian lowland
Place of origin : Batangas
Ethnolinguistec Group : Tagalog
Classification : ballroom

Background / context:
During the Spanish era, a ballroom polka was popular in the province of Batangas. This
dance was typically performed during town fiestas and significant social events.

Dance Properties:

Costume:
Female : Maria Clara or Balintawak
Male : Barong Tagalog and black or white trousers
Music : 2/2 Composed of three parts: A, B and C
Count : One, and, two, and to a measure

Formation :
When the ballroom polka is performed for demonstration purposes, dancers are typically
grouped into sets of four pairs in a square formation. Each couple occupies a corner or a side of an
imaginary square. Alternatively, they may be arranged in a long ways formation.
However, partners have more freedom in their positioning when performing a ballroom
dance. They may face in any direction and are scattered about the room.

Note: boys start with L foot and girls with R foot in Figure I, II, and III, the letter or word in
parenthesis in the instruction is for girl.

Introduction
Music Introduction

Partners face audience, inside hands joined, free hand or girl holding skirts, that of boy is placed
on waist.
(a) Tap R foot on every count of the measure……………………….…………………...8M
(b) Partners hold in closed ballroom position to get ready for figure1………………..….4M

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 I
Music A.
Extended arms toward audience.
(a) Starting with L(R) foot, take four polka steps around clockwise finishing in original
position………..………………………..…..……………………………………………..4M
(b) Point L(R) sideward (ct.1), point L(R) close to R(L) (ct.2). take one polka Step sideward left
(right) (cts. 1, and, 2, and)………….………………..……………………………………2M
(c) Repeat (b), starting with R(L) foot……..………................................................................2M
(d) Repeat all (a-c) three more times…………………..………………...……………………24M

II
Music B.
Face audience. Partners release hold. Stand side by side, girl by right, Inside hands joined, free hand
on girl hold of skirt, that of boy is placed On waist.
(a) Starting with outside foot, take two heel and toe polka steps forward ………………………..4M
(b) One polka step outward (1M) and one polka steps inward (1M) ……………………………..2M
(c) Drop inside hands. Starting with outside foot, take two polka steps to turn about outward in place.
Finish facing in opposite direction…….....................................................................................2M
Join inside hands, free hands as above.
(d) Repeat (a-c), starting with inside foot. Reverse direction in (b) and (c)………...……………..8M
(e) Repeat all (a-d)………… ………..………………………………………………..................16M

III
Music A.
Partners hold in closed ballroom dance position, extended arms toward Audience.
(a) Starting with L(R) foot, take four polka steps clockwise as in figure I (a) ……………………4M
(b) Take three gallop steps sideward left (right) toward front (3 cts.), pause (1 ct.). do not put weight
on the closing foot on the third gallop step……………………………………………………..2M
(c) Repeat (b), starting with other foot, going in opposite direction………….…………………….2M
(d) Repeat all (a-c), three more times………………..………………..…………………...............24M

IV
Music C.
Partners face front, Girl at right side. Join inside hands as in figure II. Both start with R foot.
(a) Partners take one polka step R sideward and one polka step L sideward...................................2M
(b) Point R in front (ct.1), raise same foot in front, just above the ankle (ct.2),Point R in front (ct.1),
step R close to L foot (ct.2)………………...……………………………………..…………….2M
(c) Repeat (a) and (b) starting with L foot……………………….……………................................4M
Drop inside hands. Face each other and balance both hands on own waist.
(d) With R elbows near each other (jaleo position), take eight polka steps forward, turning clockwise
twice (four polka steps for each turn). Finish in proper places………….…………………….8M
(e) Repeat all (a-d)………………..………………….………………..………………………….16M

Saludo
Music finale.
Partners face audience. Join both hands as in figure II.
(a) Starting with R foot, take four polka steps forward……………….………….………………..4M
(b) Girl whirls counterclockwise under arch arms as many time as possible……….……………..3M
(c) Drop inside hands. Face and bow to each other or audience, girl holds skirt and boys places hands
on waist ………………….………………………………………..…………………………....1M

Note: if desired the whole dance may be repeated in sets of four pairs in square formation, all facing
center of set. The audio is performed with all facing front only when ending dance.

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 Tinikling

Background / context:

Tinikling is a traditional Philippine folk dance that originated in the province of Leyte. It is
known for its unique use of bamboo poles. Two people, usually men and women, hold bamboo
poles and rhythmically strike them on the ground. Meanwhile, dancers skillfully navigate through
and between the moving poles, usually in pairs. The dance imitates the movements of a tikling bird,
which hops over grass stems, avoiding traps set by farmers. Tinikling showcases the dancers'
agility, coordination, and grace, as they execute intricate footwork and quick movements to avoid
getting caught between the poles. It is a popular and lively dance performed during festivals,
cultural events, and celebrations throughout the Philippines.

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 Tiklos

Source : Philippine folk dances volume 2

By FRANCESCA REYES AQUINO
Meaning : Refers to a group of peasants who agreed to work for each other.
Dance culture : Christian lowland
Place of origin : Leyte
Ethno linguistic group : Visayan
Classification : Entertainment

Background/context :

For centuries, Tiklos has played a significant role in the social life of the peasants in
Leyte. It refers to a group of peasants who agree to work for each other on a specific day each
week, undertaking tasks such as clearing the forest, preparing the soil, or performing various
farm-related jobs, including house construction. At noon, the peasants gather to eat and rest,
accompanied by playing Tiklos music featuring a flute, guitar, and drums such as the guimbal or
tambora. During this time, the peasants engage in the Tiklos dance. Furthermore, Tiklos music is
also used to gather the peasants before commencing work.

Dance Properties:
Costume : Dancers are dressed in working costume.
Music : 2/4 composed of three parts: A and B.
Count : One, two or one, ah or one, and, two to a measure
Formation : Partners stand opposite each other about six
feet apart. When facing audience, girl stands at partner side. One to
any number of pairs may take it apart I in this dance.

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 steps forward ……………….…...4M
(b) Execute change step sideward R and L…………………………………………..……2M
(c) Starting with R foot, take four steps backward to other places …………….…………2M
(d) Repeat all (a-c)……..………….………………………………………………….…....8M

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 II
Music B
Partners face front. The same hand position as in figure 1
(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 R 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
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 sixteen measure.
(a) Execute change step sideward, starting with R foot (cts.1, and 2), hop on R and raise L
knee in front swinging L foot oblique right backward across R knee in front (ct.1), hop on
R and swing L foot oblique 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 steps in front (R,L)……………………………………….………..........2M
(b) Jump to across R in front of L (ct.1), jump to cross L in front of R (ct.2), jump to cross R
in front of L (ct.1), jump to close R to L (ct.2)…………..………………………………2M
(c) Repeat a – b (L,R) ………………………..…………………….………………...……...4M
(d) Repeat all (a-c)……………………………………………………..…..………...............8M

V. Learning Enhancement

Activity 1
Performance Task
Instructions:
a. To analyze, interpret, and perform the dance figures, use the teaching procedure of breaking
down the steps, demonstrating the movements, and practicing and performing the dance
figures.
b. Refer to the provided rubrics to guide and outline the criteria for assessing the performance,
such as accuracy of steps, performance quality, coordination, and musicality.
c. After assessing the performance, corrections will be given to guide in any necessary
revisions. Use the feedback to improve the execution of dance figures, focusing on
maintaining accuracy, fluidity, and musicality. Practice the corrections and be ready to
execute the dance figures with the music, incorporating the adjustments provided.
d. Prepare for the Cultural Dance Showcase (culminating activity).

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 RUBRICS - Dance Literature Performance
Always able to analyze, interpret and demonstrate dance figures and
Exceeds Expectations directions with no errors.
10 points ▪ understands and follows all dance steps and directions given
▪ accurately performs all dance steps with ease
Mostly able to analyze, interpret and demonstrate dance figures and
Fully Meets directions with few errors.
Expectations ▪ understands and follows most dance steps and directions
8 points given,
▪ accurately performs most dance steps, but struggles at times
Sometimes able to analyze, interpret and demonstrate dance figures
Meets Expectations and directions with some errors.
(minimal level) ▪ understands and follows some dance steps and directions,
6 points ▪ accurately performs some dance steps, struggles often
Rarely able to analyze, interpret and demonstrate dance figures and
Not Yet Within directions with many errors.
Expectations ▪ understands and follows few dance directions,
4 points ▪ accurately performs few dance steps, always struggles and
looks overwhelmed

VI. References

Aquino, Francisca R. (1980) Philippine Folk Dance. Vol. 1-6. Kayumanggi Press, Quezon City.
Cariñosa. (n.d.). Retrieved from http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-
a/article.php?igm=1&i=139
Magno, J. (2019). Tiklos: Folk Dance of Leyte. Bayani Art. Retrieved from
https://bayaniart.com/blogs/news/tiklos-folk-dance-of-leyteJolo-Sulu: Home of Exquisite
Music and Colorful Dances. (n.d.). Retrieved from http://wowzeparks.com/jolo-sulu-home-
of-exquisite-music-and-colorful-dances/
Morales, R (2017). Philippine Folk Dancing: Tradition in Transition, Volume 10. Philippine Online
Chronicles. Retrieved from https://www.positivelyfilipino.com/magazine/philippine-folk-
dancing-tradition-in-transition
Phil. Folk Dance Society (2006) A Classic Collection of Phil. Folk Dances. Nazarene
Provincial Government of Leyte. (n.d.). Tinikling. Retrieved from
http://www.visitmyphilippines.com/index.php?title=Tinikling&func=all&pid=6727&tbl=
0

You have just finished module 10 that is good for 6 sessions.

Congratulations!!!

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 PERFORMANCE ASSESSMENT

Group _______ Dance ____________________ Date:_______

Name:

RUBRICS Score Remarks

Always able to analyze, interpret

Exceeds and demonstrate dance figures and
Expectations directions with no errors.
10 points
Mostly able to analyze, interpret
Fully Meets and demonstrate dance figures and
Expectations directions with few errors.
8 points
Sometimes able to analyze,
Meets interpret and demonstrate dance
Expectations figures and directions with some
(minimal level) errors.
6 points
Not Yet Within Rarely able to analyze, interpret
Expectations and demonstrate dance figures and
4 points directions with many errors.

Total

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 Mechanics of Teaching Dance
Group 1 Group 2 Group 3 Group 4 Group 5 Remarks

History

Music

Dance Terms

Basic Dance
Steps

Figures
Fig. 1

Fig. 2

Fig. 3

Fig. 4

Fig. 5

Fig. 6

Fig. 7

Fig. 8

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 Appendix A

COSTUMING
Presented by: Josefina B. Guillen

Costuming involves knowing and choosing the correct costume for the dance considering its
place of origin and background:
- deciding on the best style, cut, color combinations, and fit,
- appropriate to the dancer's physical characteristics,
- appropriate for the occasion of the performance,
- appropriate/ suited to the place or venue (including the time) of the performance,
- consideration of the steps, movements characteristics, and other peculiarities of the
dance
- includes headdresses and accessories.

Guidelines In Costuming
1. Read, research and consult on the proper costumes for your dance.
2. If you don’t have the right costume, come up with something closest to the original
3. Children should be dressed like children. Don’t make them look like adult, except
when they are playing special roles in the dance narrative
4. Be particular about the color combination and use of colors particularly in non-
Christian dances.
5. It is not enough to have the right costume. It should be worn properly
6. The costume should be appropriate to the dancers in terms of fit, size, cut, proportion
of parts, and colors.
7. Costume parts should be properly fastened to avoid slipping or falling out of place.
8. Maximize your costumes. Be creative in making one costume have a new look that
can be used in 2 or 3 different styles for other dances.
Ex. Changing parts like the tapis, alampay, overskirt, kerchief, etc., or adding
different accessories.
9. Visual impact or over-all look of the costume when worn should be an important
consideration
10. Finally, when worn, the costume should allow free or unobstructed movement
11. Costume runs/ rehearsals are a must to allow time for the dancer to be accustomed to
dancing with her costume. This will also allow time to make necessary adjustments to
the costume if needed.

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 Appendix B

Some Basic Costumes For Philippine Folk Dances

(For Lowland and Spanish- Influenced Dances)

MARIA CLARA
Costume for Females BARO’T SAYA
PATADYONG
BALINTAWAK
BARONG TAGALOG
Costume for Males CAMISA DE CHINO

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 Costume Parts: Their Names And Description

FOR FEMALES
BARO/ CAMISA top blouse ¾ sleeves, waist length, white cotton, piña or nylon
CORPINA Chemise with embroidered neckline of white cotton-material
PANUELO Square material folded in a triangle set over the shoulder f same materials
as the Baro
CHAMBRA Top blouse with plain semi-bell ¾ sleeves, of soft white flimsy material
KIMONA Top blouse with short extended sleeves, scattered embroidery, of cotton,
jusi, nylon or organza
SAYA (1) Long skirt, voluminous, billowy and floor length, or with cola (tail); can be
plain or with flower motif/ multi-colored/ panelled in coordinated or
contrasted colors, materials of silk or satin
SAYA (2) Floor-length skirt, sheered and tail-less, plain or with design of flowers, or
checkered or stripes
INAGUA Slip/ underskirt, ankle-length of white cotton material, with wide lace at
hemline called sinepa
SIESGO Typical Ilocano skirt of cotton material, checkered or stripes, with string
pulled waistband; even hemline or with moderate tail.
SOBREFALDA Overskirt apron wrapped around waist and over Saya, plain lacy, checkred
or stripes,of contrasting color, with skirt.
TAPIS Rectangular overskirt worn around waist and gathered on left side. Plain or
printed with flower design, checkered or stripes.
ALAMPAY Piece of cloth folder rectangular of contrasting colored material to skirt,
hung on left shoulder with the front end just above the waist in length
Typical Visayan tube or wrap-around skirt, below the knee length, plaid or
PATADYONG wide-checkered predominantly red, yellow, orange and green.
Long skirt cut “snake-like”, where additional materials cut in a bias is
SERPENTINA attached to produce an even voluminous skirt with moderate tail or cola.
Silk, brocade, satin or other shiny material.
Floor-length dress, maybe tail-less or with moderate cola, full skirt or with
BALINTAWAK cut below the knee. Butterfly sleeves stiffened or starched to stand against
the upper arm. Free choice of plain or printed material

FOR MALES
BARONG TAGALOG Long-sleeved shirt with cuff, buttoned halfway with standing collar,
front with embroidered panels. Material of piña, jusi, cotton, nylon
CAMISA DE Collarless, long sleeved shirt, with front opening fastened by buttons,
CHINO(1) plain or printed with flower designs or checkered or stripes
CAMISA DE Fisherman shirt or kamiseta-type, collarless, long-sleeves, plain
CHINO(2) cotton, comes in different colors
SCARF/ Triangular piece of cloth of same contrasting color as the pants,
NECKERCHEIF wrapped around the neck and gathered in front in a knot
BLACK PANTS Dark trousers in black, dark grey
COLORED PANTS Loose pants, string-pulled or gartered waistband, plain material of
blue, green, red, violet, brown, etc.

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Appendix C

92
 Exploring the Rich History of Philippine Traditional Dances

I. Objectives:
a. To introduce students to the diverse cultural heritage of the Philippines through
traditional dances.
b. To explore the historical significance and social context of Philippine traditional dances.
c. To develop an appreciation for the artistic and cultural value of traditional dances.
d. To encourage students to actively participate in learning through dance demonstrations
and group activities.

II. Materials:
- Projector and screen
- Speakers or sound system
- Traditional Filipino music
- Pictures and videos of different Philippine traditional dances
- Writing materials
- Space for movement activities

III. Procedure:

Day 1: Introduction to Philippine Traditional Dances

1. Begin the lesson by asking students what they know about the Philippines and its
cultural heritage. Write their responses on the board.
2. Show pictures and videos of different Philippine traditional dances, such as Tinikling,
Pandanggo sa Ilaw, and Singkil. Discuss the costumes, music, and movements
associated with each dance.
3. Explain that traditional dances in the Philippines are not only a form of artistic
expression but also reflect the country's history, traditions, and values.
4. Engage students in a class discussion about the importance of preserving and
promoting traditional dances as a way to honor cultural heritage.

Day 2: Historical Significance of Philippine Traditional Dances

1. Introduce the historical context of Philippine traditional dances, emphasizing the
influences of indigenous, Spanish, and other Asian cultures.
2. Divide the class into small groups and assign each group a specific traditional dance to
research. Provide resources such as books, articles, and websites for their research.
3. In their groups, students should create a timeline highlighting the origins,
development, and significant events related to their assigned dance.
4. Each group will present their findings to the class, including a brief demonstration of
the dance's basic steps and movements.

Day 3: Social Context and Cultural Significance

1. Discuss the social context of Philippine traditional dances, such as their role in
celebrations, rituals, and community gatherings.
2. Show videos of traditional dance performances in different regions of the Philippines,
highlighting the cultural diversity and regional variations.
3. Engage students in a class discussion about the cultural significance of traditional
dances, including their role in preserving cultural identity, promoting unity, and
passing down traditions from one generation to another.

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 4. Divide the class into pairs and assign each pair a specific traditional dance. Instruct
them to create a short skit or dialogue that showcases the cultural significance of their
assigned dance.

Day 4: Dance Workshop and Reflection

1. Invite a local dance instructor or a member of a Filipino cultural group to conduct a
dance workshop for the class. The instructor should teach basic steps and movements
of a traditional dance.
2. Allow students to practice the dance in small groups, encouraging creativity and
collaboration.
3. Conclude the lesson by asking students to reflect on their experience learning and
performing a traditional dance. Have them write a short reflection paper discussing
their thoughts, feelings, and newfound appreciation for Philippine traditional dances.

IV. Assessment:
- Group presentations and timelines (Day 2): Assess students' ability to research and present
information about the historical significance of their assigned traditional dance.
- Class participation and engagement in discussions (Day 1, 3): Evaluate students'
understanding of the cultural and social context of Philippine traditional dances.
- Reflection paper (Day 4): Assess students' ability to articulate their thoughts and
reflections on the learning experience.

V. Extension Activities:
1. Organize a cultural fair where students can showcase their learned traditional dances to the
school community.
2. Invite a local Filipino dance group to perform at the school and engage students in a Q&A
session about their experiences as dancers.
3. Research and compare traditional dances from other countries to highlight the similarities
and differences in cultural expressions through dance.

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 Dance Terms

I. Objective:
a. Familiarize and execute the basic dance terms used in Philippine traditional dances.
b. Distinguish and appreciate the cultural significance of Philippine traditional dances.

II. Materials:
- Audiovisual equipment (computer, projector, speakers)
- Traditional Philippine dance music
- Whiteboard or blackboard
- Markers or chalk
- Handouts with dance terms and definitions

III. Procedure:

A. Engage (5 minutes):
- Begin the lesson by playing traditional Philippine dance music softly in the
background.
- Ask students if they have ever seen or heard of Philippine traditional dances.
- Discuss briefly the importance of dance in Philippine culture and its role in
celebrations and rituals.

B. Explore (10 minutes):

- Introduce the concept of dance terms and their significance in understanding and
performing dances.
- Display a list of common dance terms used in Philippine traditional dances on the
board.
- Ask students to brainstorm and share any dance terms they may already know.

C. Explain (10 minutes):

- Provide a handout with the list of dance terms and their definitions.
- Go through each term, explaining its meaning and how it is used in dance.
- Encourage students to take notes and ask questions for clarification.

D. Elaborate (15 minutes):

- Divide the class into small groups.
- Assign each group a specific dance term from the list.
- Instruct the groups to create a short skit or dance routine that incorporates the
assigned term.
- Allow time for groups to practice and prepare their performances.

E. Extend (10 minutes):

- Have each group present their skit or dance routine to the class.
- After each performance, ask the audience to identify the dance term used and
explain its significance in the performance.
- Encourage constructive feedback and discussion among students.

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 F. Evaluate (5 minutes):
- Conduct a brief class discussion to assess students' understanding of the dance
terms.
- Ask students to share any challenges they faced while creating their skits or dance
routines.
- Address any misconceptions or questions that arise.

G. Enrich (5 minutes):
- Conclude the lesson by emphasizing the importance of preserving and appreciating
Philippine traditional dances.
- Encourage students to explore and learn more about different Philippine traditional
dances on their own.
- Provide resources such as books, websites, or local dance groups that students can
use to further their knowledge.

Note: This lesson plan can be modified and adjusted based on the specific dance terms and
cultural context of the Philippine traditional dances being taught.

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 Exploring the Fundamental Positions of Arms and Feet

I. Objective:
a. Demonstrate and identify the fundamental positions of arms and feet in dance, while
understanding their importance in creating proper alignment and technique.

II. Materials:
- Open space for movement
- Music player and appropriate dance music
- Whiteboard or chart paper
- Markers
- Handouts with illustrations of the fundamental positions of arms and feet

III. Procedure:
A. Warm-up (5 minutes):
- Begin the lesson with a brief warm-up to prepare students for movement. Lead them
through a series of stretches and simple exercises to warm up their bodies, such as
neck rolls, shoulder rolls, arm swings, and ankle rotation

B. Introduction (10 minutes):

- Gather students in a circle and introduce the concept of the fundamental positions of
arms and feet in dance. Explain that these positions are the foundation for proper
alignment and technique in various dance styles.
- Show visual examples of the fundamental positions using illustrations on the
whiteboard or chart paper. Discuss each position briefly, emphasizing the correct
alignment and placement of arms and feet.

C. Demonstration and Practice (15 minutes):

- Demonstrate each fundamental position of arms and feet, one at a time, while
explaining the key points and alignment.
- After each demonstration, have students practice the position individually, focusing
on correct alignment and posture. Walk around the room to provide individual
feedback and guidance.

D. Guided Exploration (15 minutes):

- Divide students into pairs or small groups.
- Assign each group a specific fundamental position to explore and create a short
movement sequence using that position.
- Encourage students to experiment with different dynamics, levels, and directions
while incorporating the assigned position.
- Allow time for groups to practice and refine their sequences.

E. Group Sharing and Discussion (10 minutes):

- Have each group perform their movement sequence for the class, incorporating the
assigned fundamental position.
- After each performance, lead a brief discussion about the strengths and challenges of
each sequence, emphasizing the correct execution of the assigned position.
- Encourage students to provide constructive feedback and suggestions to their peers.

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 F. Consolidation and Reflection (5 minutes):
- Gather students back in a circle and review the fundamental positions of arms and
feet.
- Ask students to reflect on what they have learned and how they can apply this
knowledge to improve their dance technique.
- Distribute handouts with illustrations of the fundamental positions for students to take
home as a reference.

G. Closure (5 minutes):
- End the lesson

IV. Extension Activity:

For an extension activity, students can create a short choreography incorporating all the
fundamental positions of arms and feet. They can work individually or in small groups to
showcase their understanding of the positions and their ability to transition between them
smoothly.

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 Philippine Traditional Dances in 2/4 Time Signature

I. Objective:
a. Demonstrate the fundamental dance steps of Philippine traditional dances in a 2/4 time
signature.
b. Execute the step patterns accurately while counting the beats.

II. Materials:
- Open space for movement
- Music player or live music accompaniment
- Traditional Philippine dance music in 2/4 time signature
- Handouts with step patterns and counting

III. Procedure:
A. Warm-up (5 minutes):
- Begin the class with a brief warm-up to prepare the students for movement.
- Lead the students through a series of stretching exercises, focusing on the legs, arms,
and torso.
- Encourage students to warm up their bodies by gently moving to the rhythm of the
music.

B. Introduction to Philippine Traditional Dances (10 minutes):

- Provide a brief introduction to Philippine traditional dances, emphasizing their
cultural significance and the importance of preserving these art forms.
- Show a short video clip or display images of different traditional dances to give
students a visual understanding of the diversity and beauty of these dances.

C. Explanation of 2/4 Time Signature (5 minutes):

- Explain the concept of a time signature, specifically focusing on the 2/4 time
signature.
- Discuss how the 2/4 time signature means there are two beats per measure, with
each beat receiving a quarter note value.
- Use visual aids or handouts to help students understand the concept of counting
beats in 2/4 time.

D. Demonstration of Fundamental Dance Steps (15 minutes):

- Demonstrate and explain the fundamental dance steps of a selected Philippine
traditional dance in 2/4 time signature.
- Break down each step pattern, emphasizing proper footwork, body posture, and arm
movements.
- Provide clear instructions on how to count the beats while executing the steps.

E. Guided Practice (20 minutes):

- Divide the students into small groups or pairs.
- Distribute handouts with step patterns and counting for the selected dance.
- Play the traditional Philippine dance music in 2/4 time signature.
- Instruct students to practice the dance steps while counting the beats.
- Circulate among the groups, providing individual feedback and guidance.

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 F. Performance and Reflection (10 minutes):
- Bring the class back together and allow each group to perform the dance they have
practiced.
- Encourage students to observe and appreciate the efforts of their peers.
- Lead a class discussion on the challenges and successes encountered during the
practice session.
- Ask students to reflect on the importance of preserving traditional dances and the
cultural significance they hold.

G. Closure (5 minutes):
- Summarize the key points covered in the lesson.
- Remind students of the importance of practicing and preserving traditional dances.
- Encourage students to explore and appreciate the rich cultural heritage of the
Philippines.

IV. Extension Activity:

- Assign students to research and present on a different Philippine traditional dance in 2/4
time signature.
- Students can create a short video or perform the dance in front of the class, explaining the
step patterns and counting.

V. Assessment:
- Observe students' participation and execution of the dance steps during guided practice.
- Evaluate students' understanding of the 2/4 time signature through their ability to count the
beats accurately.
- Assess students' reflection and engagement during the performance and discussion

100
 Teaching the Banga Dance

I. Objective:
a. To trace the history of Banga dance and its cultural significance
b. To analyze, interpret, and execute the basic steps and movements of the Banga dance
c. To encourage students to appreciate and respect different cultural dances

II. Materials:
- Recording of traditional Banga dance music
- Clay pots or props that resemble clay pots (optional)
- Open space for dancing

III. Procedure:

A. Introduction (5 minutes)
- Begin by providing some background information about the Banga dance, its origin,
and cultural significance.
- Show pictures or videos of the Banga dance to give students a visual representation of
the dance.
- Explain that the dance is performed by the friends of a highland maiden in celebration
of her upcoming wedding.

B. Warm-up (5 minutes)
- Lead the students in a short warm-up routine to prepare their bodies for dancing.
Include stretches and light cardio exercises.

C. Basic Steps and Movements (15 minutes)

- Demonstrate and teach the basic steps and movements of the Banga dance, using the
figures provided in the dance properties section.
- Start with the simple walking steps with light bouncing movements, emphasizing the
importance of starting with the right foot.
- Teach the arm movements, which consist of small swings while walking.
- Progress to more complex movements, such as turning, forming lines, kneeling, and
stamping.
- Break down each movement and practice them slowly with the students, gradually
increasing the speed and intensity.

D. Practice and Choreography (20 minutes)

- Play the recording of traditional Banga dance music and have the students practice the
steps and movements they have learned.
- Encourage students to dance in a circle, line, or column formation, as mentioned in the
dance properties.
- Incorporate the props (clay pots or props resembling clay pots) if available, and guide
the students on how to hold and balance them while dancing.
- As the students become more comfortable with the dance, start to choreograph a
sequence or routine using the different steps and movements they have learned.

E. Reflection and Discussion (10 minutes)

- Have a brief discussion with the students about their experience learning and
performing the Banga dance.

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 - Ask them to reflect on the cultural significance of the dance and how it connects to the
Kalinga community.
- Encourage students to share their thoughts and feelings about the dance and its
movements.

F. Conclusion (5 minutes)
- Wrap up the lesson by thanking the students for their participation and effort.
- Remind them to continue practicing the Banga dance on their own if they enjoyed it
and want to further explore it.
- Emphasize the importance of appreciating and respecting different cultural dances and
traditions.

Note: The duration of each section can be adjusted based on the age and skill level of the students.
Additionally, it is important to ensure a safe and suitable environment for dancing, with proper
supervision and guidance.

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 Appendix D

CALENDAR OF ACTIVITIES

Module Date Activity Output Date

Philippine Traditional/Folk Dances
Module 1 • Group 1 - Cordillera Group PPT
• Group 2 - Western influenced dances
• Group 3 - Dances of the Muslim groups
• Group 4 - Dances of the tribal or lesser-known
groups
• Group 5 - Dances of the countryside
Dance terms
Module 2 - Individual (Quiz)
Fundamental position of Arms and Feet Group
Module 3 • Activity 1 – Performance Task (Video) Performance
Warm-up Movements
Dance Steps in 2/4- and 3/4-time signatures Group Tasks
Module 4 • Activity 1- Performance Task
o 2/4 dance step video
o 3/4 dance step video
Dance Steps (22) in 2/4-time signature Group
Module 5 • Activity 1- Performance Task
Dance Step combination (Video)
MIDTERM
Dance Steps in 3/4-time signature Group
Module 6 • Activity 1- Performance Task
Dance Step combination (Video)
Dance Steps in ¾ and 4/4-time signatures Group Output
Module 7 • Activity 1- Performance Task (Video)
ALITAPTAP
Module 8 • Activity 1- Instructional Video
• Activity 2- Alitaptap Dance Performance
Video
“BANGA”/“MAGLALATIK.”
Module 9 • Activity 1- Performance Task (Dance Video)
a. Carinosa” Culminating
b. Daling-daling, Activity
Module 10 c. Polka sa Nayon
d. Tinikling, and
e. Tiklos

Activity 1- Instructional Video

Activity 2- Performance Video

Dance in locality
- Literature (History, music and costume)
- Presentation of dance steps/figures
FINAL-TERM
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Notes:

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 Republic of the Philippines
CEBU NORMAL UNIVERSITY
Osmeña Blvd.,Cebu City, 6000 Philippines

COLLEGE OF TEACHER EDUCATION

Center of Excellence (COE), Center of Training (COT), Level IV Accredited (AACCUP)
Telephone No.( 032) 231 8044
cte@cnu.edu.ph
Website: www.cnu.edu.ph

Outcomes-Based Education (OBE) Course Syllabus in BPED/ CAED

Course Credit: 3
Revised Date: ____________

Jucel A. Jaluague, Ph.D.

jaluaguej@cnu.edu.ph
09227602158

Program : Bachelor of Physical Education (BPEd) Term : 1st Semester

Pre-requisite : None Academic Year :

I. Vision : A leading multidisciplinary research university of education committed to build a strong nation.

II. Mission : To develop high-performing professionals and intellectuals proficient in generating new knowledge toward a progressive and peaceful pluralistic
society.

The CNU Mission comprises three mutually reinforcing thrusts:

1. Transformative education that nurtures thinking individuals who are valued members and leaders of society;
2. High impact researches that push the boundaries of knowledge in education and contribute to improving communities; and
3. Strong partnership that collectively and creatively addresses the development gaps of communities.

Core Values: Commitment to Excellence Social Sensitivity Honesty and Integrity

Flexibility and Adaptability Inclusiveness Knowledge Generation-Driven

105
III. Quality Policy:
Cebu Normal University commits itself to deliver excellence in education, research and extension services towards global competitiveness, to meet
the increasing levels of customer demand, statutory, regulatory and international standards through continuous quality improvement and good
governance.
To ensure to the commitment, relevant and responsive virtual and /or physical monitoring, review and upgrading of service delivery is
implemented.

IV. Exit Institutional Outcomes:

Design Thinkers Mission-driven Workers
Facilitators of Learning Protectors of Nature

V. College Outcomes
The College of Teacher Education envisions its graduates in the different degree programs to demonstrate technological, pedagogical content knowledge
(TPCK) imbued with the essential skills that prepare them for excellence in the delivery of relevant, meaningful and facilitative instruction in the basic education.
Moreover, the college aspires its graduates to be leaders in promoting education for sustainable development addressing emerging socio-cultural, economic, and
environmental concerns.

VI. Program Outcomes

The BPEd program aims to produce a glocally competent and dynamic professional physical educator/movement and recreation education specialist
equipped with innovative scientific knowledge, relevant pedagogical skills and imbued with ethical standards who are cognizant to environmental and societal
concerns and pursues lifelong learning through personal and professional advancement.

VII. Course Description:

Applies practical skills and understanding the rudiments of folk dancing from the raw materials of published and unpublished dances.
Analysis of dance instructions and technical interpretations from the written materials are underscored. Emphasis is given to valuing the
context of dance as basis for interpreting dance movements with underpinning of preserving the legacy of the Filipino heritage.

VIII. Course Outcomes:

1. Demonstrate skillful performance in a variety of physical activities.
2. Communicate effectively with PE practitioners, other professionals and stakeholders.
3. Use oral, written, and technology formats deftly.

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IX. Course Design Matrix:

RESOURCE
DESIRED LEARNING COURSE CONTENT/ OUTCOMES-BASED ASSESSMENT OF MATERIAL/
OUTCOMES (DLO) SUBJECT MATTER TEACHING & LEARNING LEARNING OUTCOMES SUGGESTED
(OBTL) (ALO) TEXTBOOK/
REFERENCES

At the end of the unit, the student Module1 Learning to Think –

will have to: • Understanding the Individual reflection
History of Philippine a. What do you see, feel, and - Reflection Paper Aquino, Francisca R.
a. Demonstrate content Traditional Dance think about the importance (1980) Philippine
of Philippine Folk Dance. Vol. 1-6.
knowledge of the Philippine movements utilizing the
Kayumanggi Press,
Traditional Dance history in cultural context Traditional/Folk dance in
Quezon City.
our society?
different groups through
Five Major Classifications of
writing observations and Dances according to b. What can you say/observe - Individual insights Gabao, Larry A.,
culture classification. geographical location and about the following Reviewer for
nature: dances? Licensure
A. The dances of the - The dances of the cordillera Examination for
cordillera groups groups Teachers.
B. Western-influenced - Western-influenced dances
dances - Dances of the Muslim
C. Dances of the Muslim groups
groups - Dances of the tribal or
D. Dances of the tribal or lesser-known groups
lesser-known groups - Dances in the
E. Dances of the countryside
countryside.

At the end of the unit, the student Aquino, Francisca R.

will have to: Module 2 Performance Task - Written Test (1980) Philippine
Folk Dance. Vol. 1-6.

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f. Demonstrate knowledge of - Philippine - Analyze, identify and - Performance Kayumanggi Press,
the characteristics of Traditional/Folk dance execute the dance terms Assessment of video Quezon City.
Philippine Traditional Dance a. Characteristics; and presentation with the
g. Demonstrate knowledge and b. Dance Terms use of Rubrics in Dance Gabao, Larry A.,
Terminologies Reviewer for
performance skills in
Licensure
analyzing, interpreting, and Examination for
executing the different terms Teachers.
used in Philippine
Traditional/Folk dance
At the end of the unit, the student
will have to: Module 3 Performance Task Aquino, Francisca R.
a. Demonstrate performance skill - Fundamental positions of - Execution of fundamental - Performance (1980) Philippine
in the fundamental positions of the arms and feet position of the arms, feet Assessment of video Folk Dance. Vol. 1-6.
the arms and feet and combination of position presentation with the Kayumanggi Press,
use of Rubrics Quezon City.
At the end of the unit, the student
will have to: Module 4 Performance Task
a. Demonstrate skill performance - Basic warm-up - Analyze, interpret and - Performance Aquino, Francisca R.
in a 2/4 and ¾ time signatures movements execute Dance steps in 2/4 Assessment of video (1980) Philippine
dance steps with grace and - Dance steps in 2/4 & 3/4 & 3/4 signatures presentation with the Folk Dance. Vol. 1-6.
musicality as roadblocks of signatures use of Rubrics Kayumanggi Press,
dance literature interpretation. - Reflection Quezon City.
b. Communicate effectively in
giving instructions while
performing the dance steps
c. Use technology in capturing
one’s instructional material
At the end of the unit, the student
will have to: Module 5 Performance Task - Performance Aquino, Francisca R.
a. Demonstrate skill performance - Dance Steps (22) in - Analyze, interpret and Assessment of video (1980) Philippine
in 2/4 signature dance steps by 2/4 Time Signature execute Dance steps in 2/4 presentation with the Folk Dance. Vol. 1-6.
analyzing, interpreting, and in the selected combination use of Rubrics Kayumanggi Press,
executing the step - 2/4 time signature Quezon City.
combinations time signature
b. Use technology in capturing
performances
108
At the end of the unit, the student Module 6
will have to: - Dance Steps in ¾ Time Performance Task - Performance Aquino, Francisca R.
a. Demonstrate skill performance Signature - Analyze, interpret and Assessment of video (1980) Philippine
in execute Dance steps in ¾ in presentation with the Folk Dance. Vol. 1-6.
¾ time signature dance steps by the selected combination use of Rubrics Kayumanggi Press,
analyzing, interpreting and Quezon City.
executing the step combinations
c. Use technology in capturing
one’s performance activity in ¾
time signature dance steps.
The students must have achieved - The History of Philippine - PERFORMANCE
90% of all dance performances as Folk Dance, Dance PERFORMANCE TASKS ASSESSMENTS
Mid-term requirement for grade Terms and Dance Steps RUBRIC
computation in 2/4, ¾ and 4/4 time
signatures
At the end of the unit, the student
will have to: Module 7
a. Demonstrate skill performance - Dance Steps in ¾ and 4/4 Performance Task - Performance Aquino, Francisca R.
in ¾ and 4/4 signatures dance Time Signatures - Analyze, interpret and Assessment of video (1980) Philippine
steps by analyzing, interpreting execute Dance steps in ¾ presentation with the Folk Dance. Vol. 1-6.
and executing the steps with and 4/4 time signatures use of Rubrics Kayumanggi Press,
ease. Quezon City.
b. Use technology in creating and
capturing one’s performance
(instructional video)
At the end of the unit, the student Performance Task - Performance
will have to: Assessment of video
a. Demonstrate knowledge and Module 8 Activity 1 Phil. Folk Dance
presentation with the
skill performance of Aliptaptap - ALITAPTAP DANCE - Analyze, interpret and use of Rubrics - Dance Society (2006) A
dance with grace and LITERATURE execute “ALITAPTAP” Literature Performance Classic Collection of
musicality dance figures Assessment Phil. Folk Dances.
b. Communicate effectively in Nazarene
giving instructions while Activity 2 - Rubrics for Alitaptap
performing the dance steps - Perform ALITAPTAP with performance and
c. Use technology in creating and the music musicality
capturing one’s performance
109
 At the end of the unit, the student Performance Task
Module 9
will have to: - Performance Phil. Folk Dance
a. Demonstrate knowledge in - Philippine Activity 1 Assessment of video Society (2006) A
dance literature and skill Traditional/Folk Dances - Analyze, interpret and presentation with the Classic Collection of
performance of a. “Banga” and execute “Banga” and use Dance performance Phil. Folk Dances.
Banga/Maglalatid with b. “Maglalatik.” “Maglalatik” dance figures and musicality Nazarene
musicality with the music Assessment Rubrics
b. Use technology in capturing
one’s performance

At the end of the unit, the student

will have to: Module 10 Performance Task - Performance
a. Demonstrate knowledge and Assessment of video
- Philippine presentation with the
skill performance of dances Traditional/Folk Dances Activity 1
with grace and musicality - Analyze, interpret and use of Rubrics - Dance
a. Carinosa execute “Carinosa” dance Literature Performance
b. Communicate effectively in b. Daling-daling, figures Assessment
giving instructions while c. Polka sa Nayon,
performing the dance steps d. Tinikling, and
c. Use technology to capture e. Tiklos - Rubrics for Carinosa
performances Activity 2 performance and
- Perform Carinosa with the musicality Assessment
music
At the end of the performance task - Philippine - PERFORMANCE TASKS - CULMINATING
assessments, the students must have Traditional/Folk Dances ACTIVITY
achieved 90% of the expected - Dance Presentations
knowledge and skill outcomes. with the use of rubrics

Flexibility Provision. The Course Design Matrix may include additional topics, activities, remedial measures deemed necessary based on the students’ needs.

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