PHILIPPINE FOLK DANCE (Instructional Materials in Physical Education
PHILIPPINE FOLK DANCE (Instructional Materials in Physical Education
PHILIPPINE FOLK DANCE (Instructional Materials in Physical Education
FOLK DANCE
(Instructional Materials
in Physical Education)
Lesson 1
The word “Dance” comes from the Greek word “danson” which means to stretch. All
dancing is made up of stretching and relaxing. Thus, observation and analysis for the term
“Sayaw” lead to the word “saya” which means happy. A person who is happy or in the
rhythmical movement is an outward expression of his feelings.
Folk dance is a participatory dance form that is recreative and ceremonial. It is usually
traditional and performed by members of the community. History traces folk dance to
agricultural peoples who live in close-knit communities. In a folk dance, the steps are simple
and repeated to allow as many members to participate in the dance. These dance steps are
passed down from generation to generation which explains why folk dance becomes part of
the tradition.
The folk dance is sometimes linked to the specific occasion to which the community gives
importance. Some folk dances may be sacred because to early people religion pervades their
life activities. Other folk dances celebrate cyclical events of the years which are usually related
to the economic life of the community.
Part of the Philippine Education program is to give meaning to rhythmic movements. These can be
seen in Philippine folk dances which reflect not only movements but also the expression of the
Filipinos, sense of life. For the Filipinos, dance is a form of worship: an expression or images found in
all aspects of their life; the wind, the rain, the passing of seasons, birth, death, and dreams.
Aside from enhancing the rhythmic movements of students, there are benefits that can be derived
and developed from the study of Philippine folk dance.
When the Philippines was discovered by Ferdinand Magellan in 1521. It had been inhabited
by three different racial groups, the Indonesian, Malays, and the Pygmies. The offspring of the
Pygmies were the Negritos. The Negritos preferred dances to describe their daily activities like
the dance Sinulog. It was a dual dance where two men use below.
For centuries, dancing and singing have been the principal pastime of the people. The early
Filipinos considered dancing as an areligious activity. They performed dances in thanksgiving
for a fruitful harvest, a victorious battle, a prosperous voyage, or recovery from sickness.
During the Spanish time, dancing was part of the social activities of the Filipinos.
Kumintang, a pantomimed song, and dance was the oldest recorded activity among the
Christianized Filipino people. The Spaniards introduced different dances such as Fandangos,
Lanceros, Rigodon, Carinosa, and Curacha. Western cultures and dances of the European
countries during the 16th century were also introduced, absorbed, and blended into the
Philippines native culture and they become part of the country’s traditional folk dance.
The University of the Philippines Dance Troupe paved the way for the birth of Philippines
dances. This group of dancers and singers toured and performed in the towns and nearby
provinces of Manila to dance and sing.
The Bayanihan dance company, Ramon Obusan, Barangay Dance company and the Lahing
kayumanggi of the Bulacan State University, and many others toured outside the country,
dancing their way to winning the Love, administration, and appreciation of different people
through the world.
Name: _________________________________Course/Section: ____________________________
Instructor: ______________________________Date: ___________ Score: ___________
Activity #1
3. Discuss at least two values that can be derived from studying Philippines folk dance.
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Instructor: ______________________________Date: ___________ Score: ___________
Activity #2
1. Identify the three groups of people who inhabited the Philippines before it was discovered by
the Spaniards.
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3. How can you help preserve and promote our Philippines folk dances?
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Reference:
Tabin, A.B., Garcia. F.,Orlanda. M., (2008) Handbook in Physical Education 2 (Rhythmic
Activities)
De Dios.C,Indon. V.,Omampo. Z. (2006) Physical Education 2: Rhythm and Dance (Modules)
LESSON 2
Objectives:
1. Identify the characteristics of the Philippine folk dance;
2. Anlyze the classification of of Philippines folk dance;
3. Appreciate the nature of Philippine folk dance.
A. Geographical Origin
1. National Dances: These are dances found throughout the island with little or no
modification.
2. Local dances:
B. Nature:
2. Religious/ Ceremonial: These are dances associated with religion, vows, and
ceremonies.
3. Comic Dances: These are dances that depict funny movements intended for
entertainment.
4. Game Dances: these are dances done with play elements (dance mixers)
6. Courtship Dance: These dances depict the art of courtship or dances with love themes.
Example: Hele-hele, Bago Quire, Maramion, Tadek , Daling-daling
7. Festival Dance: These dances are suitable for special occasions or for any social
gathering.
8. War Dance: These show imagery combat or duel among tribe members.
Example: Sagayan, Palu-palo, etc.
C. Movements
2. Moderate:
3. Slow:
D. Formation:
3. Set: This consists of two or more pairs as a unit; with partners facing each other or
standing side by side.
Activity #3
I. Identify the dances described in the following statements. Write the correct answer
before the number.
__________ 1. Dances with funny and humorous movements done for entertainment only.
__________ 3. Dances performed in connection with religious vows, practice and beliefs.
__________ 5. Dances that depicts action characterized certain occupation and phrase of
human labor.
__________ 7. Dances that are performed in connection with celebration, feast, or barrio
fiestas.
__________ 10. These dances are suitable for special occasions or for any social gathering.
Reference:
Tabin, A.B., Garcia. F.,Orlanda. M., (2008) Handbook in Physical Education 2 (Rhythmic
Activities)
De Dios.C,Indon. V.,Omampo. Z. (2006) Physical Education 2: Rhythm and Dance (Modules)
Lesson 3
1. Classical Dance - dances with standardized rules and restrictions. It can be religious-
related dances or for court and royal entertainment.
2. Classical Ballet - a dance of supreme standards learned from academe. This
originated from Italy from the world Bul-lo meaning to dance and flourished in the
royal court of France.
3. Modern Dance – a deviation from the principles of classical ballet developed by
Isadora Duncan. This is characterized by the natural and true expression of the human
body and soul.
4. Contemporary Dance – a combination of ballet and modern dance.
5. Folk Dance – a cultural art form handed down from generation to generation. It
communicates the customs, beliefs, rituals, and occupation of a region or country. Folk
dancing belongs to and emanates from the people.
6. Ethnic and Tribal Dance – a dance particularly found in a group of people living
together in a locality with common beliefs and customs.
7. Recreational Dance – includes dance mixers, square dancing, and round and couple
dances.
8. Social and ballroom Dance – a dance set in a social gathering with a more formal
atmosphere than the simple and informal parties in which the recreational dances are
the usual forms. This is usually held in the evenings and participants are usually in
formal attire for purposes of recreation and entertainment.
9. Creative Dance – the highest form of dance for the purpose of entertainment. It is the
end product of movement exploration and improvisation as the dancer or
choreographer express his/her feeling, ideas, and interpretation. The principles of an art
form are all observed in the composition of this dance.
10. Popular Dance – highly recognized as a dance form in television and other dance
centers like disco houses and social gatherings.
TERMS MOVEMENT
Hop The dancer spring from one-foot landing on the same foot in place or in any
direction.
Inside Foot This is the foot nearer the partner when the partner stand side by side
Jaleo Partners turn around clockwise (with R elbows almost touching) or
counterclockwise (with L elbows touching) using walking or any kind of
dance step.
Jump The dancer spring on one foot or both feet landing on both feet in any
direction.
The dancer swings the arm downward upward passing in front of the body
Salok as if scooping; the trunk is bent forward following the movement of the arm
doing the salok.
The dancer crosses the R (or L) foot in front of the L (or R), bend the body
Sarok slightly forward, and cross the hands down in front with the R (or L) hand
over the L (or R).
Slide The dancers glide the feet smoothly along the floor.
Stamp The dancer brings the foot forcibly and noisily on the floor.
Bow or Saludo Partners bow to each other, to opposite dancers or to the audience.
Brush The dancers put weight on one foot and swing the other foot with the heels
striking the floor. The brush may be done forward, sideward, or backward.
Clockwise Dancers move following the direction of the hands of the clock moving to
the left when facing the center.
Counter Dancers move following the reverse direction of the clock with the hands of
the clock moving to the right when facing the center of any imagery circle.
Cut Dancers quickly change weight from one foot to displace the other stable
foot.
Two dancers walk toward each other, passing by the right shoulder, then
Do-si-d0 stepping sideward to the right, and returning to the position by walking
backward passing by left shoulder.
Free Foot This is the foot not bearing the weight of the body.
Free Hand The hand is not placed anywhere, or not doing anything.
Hayon-hayon The dancers place one forearm in front while the other is at the back of the
waist of another.
Activity #4
True or False: Write True if the statement/Sentence is correct and write False if the
statement/sentence is wrong.
__________ 1. This highly recognized as a dance form in television and other dance centers
like disco houses and social gatherings which is called creative dance. (False)
__________ 2. This dances with standardized rules and restrictions. It can be religious-related
dances or for court and royal entertainment which is called classical dance. (True)
__________ 3. This is a combination of ballet and modern dance which is called ballet dance.
(False)
__________ 4. This steps partners turn around clockwise (with R elbows almost touching) or
counterclockwise (with L elbows touching) using walking or any kind of dance step which is
called pivot turn. (False)
__________ 5. This dance steps lead the dancers quickly change weight from one foot to
displace the other stable foot which is called jaleo. (False)
__________ 6. This dance step lead the dancers place one forearm in front while the other is at
the back of the waist of another which is called hayon hayon. (True)
__________ 7. This includes dance mixers, square dancing, and round and couple dances
which is called popular. (False)
__________ 8. Turn step is to glide the feet smoothly along the floor. (False)
__________ 9. Saludo steps is to bow to each other, to opposite dancers or to the audience.
(True)
__________ 10. Do-si-do is to dance quickly change weight from one foot to displace the
other stable foot. (False)
Reference:
Tabin, A.B., Garcia. F.,Orlanda. M., (2008) Handbook in Physical Education 2 (Rhythmic
Activities)
De Dios.C,Indon. V.,Omampo. Z. (2006) Physical Education 2: Rhythm and Dance (Modules)
Lesson 4
Objectives:
1. Identify the fundamental dance position of the arm and the fundamental dance position
of the feet;
2. Execute and combine the five fundamental dance position of the arm/ feet with
precission; and
3. Appreciate the music and actively participate in the execution of the steps.
1st Position
Arm:
Raise arms forward in a circle in front of the
chest. Fingertips of both hands should be
apart.
Feet:
Position heels together and toes apart at an
angle of about ninety degrees or more.
2nd Position
Arm:
Place arm sideways a little below shoulder
level. Have palms facing up.
Feet:
Have feet positioned apart sideward about a
pace distance? Position heels parallel to each
other.
3rd Position
Arm:
Raise one arm at the half circle and a little in
front of the head (amplified position); have
the other arm as in the second position.
Feet:
Have the heel of one foot close to the instep
of the other foot.
4th Position
Arm:
Raise one arm in an amplified position, while
the other arm is in the first position.
Feet:
Have one foot forward about a pace distance
with toes out.
5th Position
Arm:
Raise both arms to form a circle over and
place a little in front of the head (amplified
position).
Feet:
Have one foot in front of the other foot with
the heel close to the big toe of the other foot.
Activity #5
5th Position
Activity #6
5th Position
Reference:
Tabin, A.B., Garcia. F.,Orlanda. M., (2008) Handbook in Physical Education 2 (Rhythmic
Activities)
De Dios.C,Indon. V.,Omampo. Z. (2006) Physical Education 2: Rhythm and Dance (Modules)
Things to Remember:
The 1st, 3rd, and 5th feet positions are in close position. The 2nd and 4th positions are in the open position.
Mid-Term Examination
Lesson 5
Objectives:
1. Analyze the basic steps in 2/4 and ¾ time signature;
2. Execute the basic steps in 2/4 and ¾ time signature in Philippine folk dance; and
3. Appreciate the music and actively participate in the execution of the steps.
Polka Series
Lesson 6
Objectives:
1. Identify the dance steps in ¾ time signature;
2. Analyze and interpret the steps involved in the dance with precission; and
3. Execute the steps in ¾ time signature with joy and confident.
Lesson 7
Objectives:
1. Identify the dance steps in Philippine folk;
2. Demonstrate each dance steps; and
3. Combine the dance steps learned.
Sample Dances
Carinosa
This flirtation dance is known throughout the Philippines. Carinosa means affectionate,
loveable, amiable. With a fan and handkerchief, the dancers go through hide and seek
movements and other flirting acts expressing tender feelings for one another. There are many
versions of this dance but the hide-and-seek movements are common to all.
COSTUME: Girl wears Balintawak style costume or Patadyong and Camisa and boy in
Barong Tagalog and trousers in any color. The girl has a fan hanging on the right side of her
waist and the boy has a handkerchief in his pocket. (see illustration, page VI).
FORMATION: Partners stand facing each other, six feet apart. When facing the audience,
the girl is at the right of the boy. Any number of couples may take part in this dance.
Introduction
Music Introduction.
Execute a three-step turn right in place and bow to each other. The girl holds skirts, the boy
places hands on waist 2M
-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
pointing L foot……………………………………………………………..2M
(b) Repeat (a) starting with L foot and moving sideward left. Reverse position of
hands……………………………………………………………………….2M
(c) Repeat (a) and (b), three more times……………………………………….12M
-II-
Pointing
Music B:
Partners face each other. Throughout this figure, Girl holds the skirt and the boy places
hands on the wrist.
(a) Starting with R foot, take three steps forward to meet at 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…….4M
(c) Starting with R foot, take four steps forward to partners place, passing each other by R
shoulder (cts. 1,2,3,1) ………………………………………………………...2M
(d) Repeat all (a-c), finish in proper places………………………………………3M
-III-
Back to back
Music A:
(a) Partners meet at centers as in figure II (a) (cts. 1,2,3,1). Turn right about to be in back-
to-back position a little bit on the 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 the
waist (cts.1,2). Step R sideward to be side by side with a partner by L shoulder, place R
hand on the waist (ct. 3). Repeat three more times, pointing L, R, L and shaking L, R,
L index finger alternately at partner. Partners are standing by each other’s shoulders
when shaking R index finger to partner. Free hands-on waist (3M) ………………4 M
(c) Turn right about and exchange places as in figure II (C) ……….8 M
-IV-
Hide and Seek with fan
Music B:
-V-
Kneeling and Fanning
Music A:
(a) Starting with R foot, take three steps forward to center. Girl holds skirt, Boy places on
waist (cts. 1,2,3). Girl-kneel on R while Boy passes around on right of a girl to stand
behind her and faces the same direction as a girl. Partners place hands on the waist
(cts.1,2,3) ……………………………………………………………………2M
(b) Boy-Point R and L foot four times alternately in front, looking at Girl over her R and L
shoulder alternately. The girl in the meantime looks at partner over her R and L
shoulder alternately. Both place hands-on waists…………………………………….4M
(c) Boy – turn right about, girl stand and exchange place as in figure II (c) ….2M
(d) Repeat all (a-c), but this time boy kneels down and the 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 (cts. 1,2,3,1). Boy takes the handkerchief
from his pocket. Partners hold handkerchief at corners a perpendicular position
between their faces with Boy’s hands-on top at 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, that is, on one measure with boy’s hands-on top while
pointing R foot and the next measure with Girl’s hands-on top while pointing with L
foot. When own hands are down, look at partners face from below and when up look
above handkerchief……………………………………………………….……..2M
(c) Girl releases handkerchief. Partners exchange as in figure II (c)
(d) Repeat all (a-c), finishing in proper places. This time Girl keeps a handkerchief at the
end of this figure……………………………………………………………..8M
Note: In the Bicol regions the hide-and-seek movement is done with two handkerchiefs
crossed diagonally. Each dancer holds a handkerchief at two corners which is diagonally
folded (triangular form). While the dancers point the R foot, the R hands are held obliquely
right upward and the L hands are obliquely left downward, thus the handkerchief is closed like
the letter X in front between them. The position of the hands is reversed when pointing L foot.
They change the position of hands at every measure. They peep through the opening of the
handkerchief above and below alternately. The girl peeps above with R hands are up and the
boy, when the L hands are up.
-VII-
Flirting with handkerchief
Music A:
Note: If one pair is dancing, the partner may go in any direction so long as they finish in
proper places at the end of this figure.
(a) Partner turn R shoulder toward each other. Starting with R foot, take eight waltz steps
forward moving around clockwise, Girl hold handkerchief at one corner and place it
over her R and L shoulder alternately at every measure, looking back at the boy at the
same time. The boy in the meantime follows behind Girl, stretch out R and L hand
alternately as if trying to catch the free end of the
handkerchief…………………………………………8M
(b) Turn right about and repeat (a) counterclockwise, Girl leads again, Finish in proper
places……………………………………………………………………………..8M
-VIII-
Flirting
Music B:
(a) Starting with R foot, take two waltz steps to meet at the center. Girls' arms in lateral
position moving sideward right and left, boys hands-on what.
(b) With Girl leading in front, partners take six waltz steps forward moving around
clockwise. Some position of hands as in (a) but Girls fingers fluttering in time with the
music as she looks over her R and L shoulder alternately at the boy who is following
her
closely……………………………………………………………………………..6M
Saludo
Execute a three-step turn right in place and bow to each other with the girl holding her skirt
and the boy with his hands in his
waist.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,3M
Polka sa Nayon
(Tagalog)
This ballroom polka was popular in the province of Batangas in Spanish time. It was
usually danced during town fiesta and in big social affairs.
COSTUME: The girl wears the Maria Clara or Balintawak style costume; the Boy wears
Barong Tagalog and black or white trousers.
FORMATION: When performed for demonstration, dancers may be grouped into a set of
fairs in a square formation, each couple occupying a corner, or a side of an imaginary square
or they may be arranged in longways formation.
When performed as a ballroom dance, the partner may face in any direction and are tattered
about the room.
Note: Boy starts with L foot and Girl, with R foot in figures I, II, and II. The letter or word in
the instructions is for Girl.
Introduction
Music Introduction
Partners face the audience, inside hands joined, freehand of Girl holding skirt, that of Boy is
placed on the waist.
-I-
Polka
Music A.
-II-
Heel and Toe Polka
Music B.
Face audience. Perhaps release hold. Stand side by side, the girl at right, inside hands joined.
Freehand of the Girl holds the skirt that of Boy is placed on the waist.
(a) Starting with outside foot, take two heels and toe polka steps forward …….4M
(b) One polka step outward (IM) and one polka step inward (1M) ……………2M
(c) Drop inside hands. Starting with the outside foot, take two polka steps to turn about
outward in place. Finish facing in opposite direction ……………………………….2M
(d) Repeat (a,c), starting with inside foot. The 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 forward audience.
(a) Starting with L ® foot, take four polka steps clockwise as in figure I (a) ..4M
(b) Take three gallop steps sideward left (right) toward the 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 the other foot, going in the opposite direction ………….2M
(d) Repeat all (a-C), three more times …………………………………………24M
-IV-
Music C
Partners face front, Girl at the right side. Join 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 (cts. 1 and,), raise same foot across L foot in front, just above the ankle
(cts. 2, and,). Point R foot in front (cts. 1, and), step R close to L foot (cts. 2 and) ...2M
(c) Repeat (a) and (b) starting with L foot …………………………………….2M
Drop inside hands. Face each other and place both hands on their 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 place…..8M
(e) Repeat all (a-d) ……………………………………………………………16M
Saludo
Music Finale.
Partners face the audience. Join inside hands, free hands as in figure II.
(a) Starting with R foot, take four polka steps forward ……………………….4M
(b) Girls whirl counterclockwise under the arch of arms as many times as possible ..3M
(c) Drop inside hands. Face and bow to each other or to the audience; girl holds skirt and
Boy places hands on waist 1M Note; If desired, the whole dance may be repeated in
steps of four pairs in a square formation, all facing center of the set. The saludo is
performed with all facing front only when ending dance.
Activity #6