CPH, Worksheet 19, Galon, Dindo, Jr. G.
CPH, Worksheet 19, Galon, Dindo, Jr. G.
CPH, Worksheet 19, Galon, Dindo, Jr. G.
LEARNING COMPETENCY:
Explains Filipino artists’ roles and identify their contribution to contemporary arts.
Week 4/Semester
OBJECTIVE:
At the end of this module, students can:
Identify Filipino Artists’ (National Artist in Dance) roles and contribution to contemporary arts.
REMEMBER?
Remember the national artists in Music that have previously discussed?
Identify them by answering the questions below:
1. Philippine Queen of Kundiman ___________________
2. Founder of the Philippine Madrigal Singers ___________________
3. Composer of “Sa Ugoy ng Duyan” ___________________
4. Ugma-ugma is one of his compositions ___________________
5. First Female National Artist in Music ___________________
INTERESTED?
Name the genres of Philippine dance by looking at the pictures:
WHAT’S NEW?
THE NATIONAL ARTISTS IN DANCE
Dubbed the “Trailblazer” “Mother of the Philippine Theatre Dance” and “Dean of Filipino
Performing Arts Critics”, pioneer of Filipino choreographer in balletic folkloric and Asian styles, has
produced for over 50 years highly original, first-of-a-kind choreographies, mostly to her own storylines.
Orosa has brought native folkdance, mirroring Philippine culture from pagan to modern times, to its
highest stage of development.
FRANCISCA REYES AQUINO (National Artist for Dance, 1973)
Francisca Reyes Aquino is acknowledge as the Folk Dance Pioneer. The Bulakena began her
research on folkdances in the 1920’s making trips to remote barrios in Central and Northern Luzon. Her
research on the unrecorded forms of local celebration, ritual and sport resulted into a 1926 thesis entitled
“Philippines Folkdances and Games”, and arranged specifically for use by teachers and instructors in
both public and private schools. In 1940, she served as supervisor of physical education at the Bureau of
Education. In 1954, she received the Republic Award of Merit given by the late Pres. Ramon Magsaysay
for outstanding contribution toward the advancement of Filipino culture.
RAMON OBUSAN (National Artist for Dance, 2006)
Ramon Obusan was a dancer, choreographer, stage designer, and artistic director. He
achieved phenomenal success in Philippine dance and cultural work, he has also acknowledged as a
researcher, archivist and documentary filmmaker who broadened and deepened the Filipino
understanding of his own cultural life and expressions. Through the Ramon Obusan Folkloric Group
(ROFG), he had effected cultural and diplomatic exchanges using the multifarious aspects and
dimensions of the art of dance.
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*How does the Philippine National Artist for Dance help enrich the Filipino Cultural Heritage?
*What were the biggest contribution of the National Artists in Dance have shared to the country?
LIVE IT OUT!
*Choose one Philippine dance and relate it to your life by making an essay out of that chosen
dance.
Philippine dancing is a true reflection of daily life in the past centuries while enchanting
modern audiences at the same time. The various cultures of the different region in our country have
been made more colorful, beautiful, and vibrant because of dances that reflect who we are. Every
region also has different influences in their arts, crafts, and ancestral dances. And the most important
component of these dances are values, which can be applied and relate in our life.
If I am going to relate my life in a Philippine dance, I will pick the folk dance tinikling.
Tinikling is the most popular and best known of the Philippine dances and is honored as the
Philippine National Dance. Dancers imitate the tikling bird’s legendary grace and speed by skillfully
maneuvering between large bamboo poles. The name “Tinikling” means “bamboo dance” in English.
Considered as one of the oldest dances from the Philippines, Tinikling originated in the island
of Leyte in the Visayas. The bird was named “tikling” from which the Tinikling dance got its name.
Because of creativity of the people, they imitate the Bird’s movement between branches, stems and
traps that we’re laid by farmers using bamboo poles.
The way the dancers and the bird dodge the traps and bamboo is very sophisticated, and this
is how encounter the challenges in life. I am fast and agile, can easily dodge on what life might bring
to me. I also encounter life with joy and wonder, which can be seen when we dance tinikling. The
fancy colors of costumes also reflects how bright the life I am experiencing. The eloquent hand
movements shows how delicate I am. In every detail in dance pattern reflects on how meticulous I
am. The dance is very risky, and this shows my love to lean something new and take risks. And just
like the end of tinikling, I will try to reach the triumph after different tempo of problems that will test
me.
Tinikling is a not just a dance, it’s a symbol on how I face life, just enjoying the rhythm,
avoid hindrances and seek for heightened thrills that will take me to the next level.
Answer the following statements by identifying the national artists in dance’ roles and contributions: