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PE- Grade 8- Q4- Final

Secondary education (Mabini National High School)

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8
Physical Education
Quarter 4
Philippine Folkdances with
Asian Influences

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Physical Education – Grade 8

Quarter 4: Philippine Folkdances with Asian Influences
First Edition, 2021

Republic Act 8293, section 176 states that: No copyright shall subsist in
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Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand

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do not represent nor claim ownership over them.

Published by the Department of Education

Development Team of the Module

Writers: Naason L. Gildore, Gerly B. Jumangit
Editors: Marissa M. Ordoñez, Maribel B. Plana
Reviewer: Marciano G. Canillas
Layout Artist: Gerly B. Jumangit
Management Team:
Josephine L. Fadul – Schools Division Superintendent
Melanie P. Estacio - Assistant Schools Division Superintendent
Christine C. Bagacay – Chief – Curriculum Implementation Division
Isaias E. Maghuyop – Education Program Supervisor – MAPEH
Lorna C. Ragos - Education Program Supervisor - LRM

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Physical Education 8
Quarter 4
Philippine Folkdances with
Asian Influences

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Introductory Message

This Self-Learning Module (SLM) is prepared so that you, our dear learners,
can continue your studies and learn while at home. Activities, questions,
directions, exercises, and discussions are carefully stated for you to
understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-
step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each

SLM.
This will tell you if you need to proceed on completing this module or if you
need to ask your facilitator or your teacher’s assistance for better
understanding of the lesson. At the end of each module, you need to answer
the post-test to self-check your learning. Answer keys are provided for each
activity and test. We trust that you will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are also
provided to our facilitators and parents for strategies and reminders on how
they can best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on any
part of this SLM. Use a separate sheet of paper in answering the exercises
and tests.
And read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in answering
the tasks in this module, do not hesitate to consult your teacher or
facilitator.

Thank you.

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Let Us Learn!
After going through this module, you are expected to: 1. describe
the nature and background of the dance (PE8RD-IVc-1); 2. Execute
the skills involved in the dance (PE8RD-IVd-h-4); and 3. Exerts best effort to
achieve positive feeling about self and others (PE8PF – IV-h-38)

Let Us Try!
To check how ready you are in terms of familiarity of the dances
with Asian influence, here are some basic ideas or concepts which
will lead you to answer queries related to performing these folk dances.
A. Identify the pictures shown below. Choose your answer from the
words inside the box. Do it in your answer sheet.

http://www.kalilayan.com http://www.pinterest.com http://www.flickr.com

.1. ________________ 2________________ 3. ________________

http://www.flickr.com http://www.pinterest.com

4. ________________ 5.________________

Pangalay Tiklos Binislakan Subli Sakuting Sua-Ku-Sua

B. Answer the following questions.

1. What general concept can be derived from the given picture? Explain.
2. Is there a need for proper expression in folk dancing? Does it speak of
something?

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Lesson
Philippine Folkdance:
1 History and Origin
Let Us Study

What is Folk Dance?

It is a form of dance developed by a
group of people that reflects the
traditional life of the people of a certain
country or region.

Philippine folk dances speak so much about the heartbeat of our

people for they tell about our customs, ideas, beliefs, superstitions, and
events of daily living in a certain community. Just by looking at the
costumes, props, and implements of a certain group or tribe would tell you
of the origin of the dance. The kind of music being used readily also tells
about the influences brought about by trade and settlement of our
neighboring countries such as China, Malaysia, Indonesia, Burma,
Cambodia, Thailand and Japan to name a few. Truly evident is the effect of
acculturation in the country as manifested by the kinds of costumes, props,
music, and dance steps that are used and integrated in to some of our
regional and national folk dances.
The following historical backgrounds and context of the dance
literatures of Pangalay, Sakuting, Sua-Ku-Sua and Binislakan would give
you a clear picture of the nature and background of these folk dances. This
lesson will help you understand their significance and cultural value,
including the beauty and complexity of the people living in those places.

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HISTORICAL BACKGROUND
PANGALAY
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the
traditional “fingernail” dance of the Tausug people of the Sulu Archipelago
and Sabah. PANGALAY dances because dancers must have dexterity and
flexibility of the shoulders, elbows, and wrists – movements that strongly
resemble those of kontaw silat, a martial art common in the Malay
Archipelago. The Pangalay is performed mainly during weddings or other
festive events. The male equivalent of the Pangalay is the Pangasik and
features more martial movements, while a pangalay that features both a
male and female dancer is called Pangiluk.

PANGALAY
Dance Place of
Researcher: Origin:
Francisca Sulu
Reyes-
Aquino

Dance Meaning:
Culture: Finger
Muslim – Nail
lowland
(Coastal)

Classification: Ethno-
Wedding/ Linguistic
Festival http://www.flickr.com Group:
Dance Tausug
Country of
Influence:
Thailand,
Malaysia,
Burma,
Cambodia,
and
Indonesia
SAKUTING
Sakuting is a dance of the ethnic people living in the western side of
the Cordilleras way back before the coming of the Americans to our country.
During Christmas, young boys and girls accompanied by their elders would
go to the lowlands especially in Abra and Ilocos Norte to dance in front of
the houses and ask for gifts. The people in the homes would give them some
money, homemade delicacies and other things. Sakuting is an ethnic term
which refers to the rhythmic sticks producing the accompaniment for the
dance.

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SAKUTING
Dance
Classification: Researcher:
Social Dance Francisca
Reyes-
Aquino

Meaning:
refers to Place of
rhythmic Origin:
sticks Abra and
producing Ilocos
the Norte
accompan
iment for
Country
the dance http://www.flickr.com
of
Influence:
China
BINISLAKAN
Lingayen in Pangasinan means “having to look backward and
upward.” It was derived from Li-King-Tung, a Chinese word given to the
name Lingayen, the capital of Pangasinan, by the Chinese settlers of this
place a long time ago. The barrio folks who lived at Almazin, a small place
between barrio Pangasinan (Pulong and Maniboc) danced this to
commemorate the stay of Limahong, a Chinese pirate who built his kingdom
here.

BINISLAKAN
Dance Place of
Researcher: Origin:
Francisca Lingayen,
Reyes- Pangasinan
Aquino

Dance Meaning:
Culture: With the
Christian use of
lowland sticks

Classification: Country of
http://www.pinterest.com Influence:
Social Dance
Ethno- China
Linguistic
Group:
Pangasinense

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The Binislakan dancers look backward or upward in some of the

movements hence, the name Lingayen. They also use two sticks to produce
rhythms, imitating the chopsticks used by the Chinese in eating. Thus, the
dance is also called Binislakan, which in Pangasinan means “with the use of
sticks.”

SUA-KU-SUA
The Tausug of Sulu in the Southern Philippines, though known as
fearsome warriors are also better known as sturdy seafarers and hardy
farmers. The performers, especially women, dance with faces thickly covered
with ground rice powder. Their eyebrows and sideburns are enhanced with
soot for aesthetic purposes. Extensive orchards are planted with coconuts
and pomelos and fields with staples like rice and root crops. Pomelo fruits
serve as an important source of income of the people of Sulu. Their
dependence on pomelo fruits for their livelihood inspired them to create
Sua-Ku-Sua dance. The movements of the dance compare sua’s gentle
leaves, slender branches, attractive fruits, and fragrant flowers to a lady.
During performance, the couples sing while flapping two white fans which
represent the leaves rustling in the wind.

SUA-KU-SUA
Place of
Dance
Researcher: Origin:
Ramon A. Jolo,
Obusan Sulu

Dance Meaning:
Culture: My
Muslim – Pomelo
lowland Tree
(Coastal)

Classification: Ethno-
Courtship Linguistic
http://www.kalilayan.com Group:
Dance
Tausug
Country of
Influence:
China,
Malaysia,
and
Indonesia

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Let Us Practice
ACTIVITY No. 1
The following dance terms and dance steps are basically used in
Binislakan, Sakuting, Sua-Ku-Sua, and Pangalay. You need to master all of
these dance terms which you will be used in performance test.
Padyak - to stamp or tap with one foot and the weight of the body is on the
other foot
Saludo - it means to bow
Arms in Lateral Position - both arms are in one side at shoulder level,
either right or left
Set -a dance formation of two or more couples
Bend - to move the body or part of the body around wide axis
Leap - to spring one foot and land on the other foot

Let Us Practice More

Study and analyze the following table. The information given will be
needed in your dance performance.

Dance Steps Music Used No. of counts or Step Pattern

meter per step
Slide (glide) 2/4 or 3/4 1 measure Slide, close
Skip 2/4 or 6/8 1 count Step and hop
Bleking 2/4 or 3/4 1, 2, or 3 counts Heel-place, close
Gallop 2/4 or 6/8 1 count Step and cut
As many as Step, step, step and
2/4 or 3/4
Mincing required so on
2/4, 3/4 or As many as Pivot and turn heels,
Parallel Tortillier
4/4 required pivot and turn toes
Step, ball and turn,
2 measures or 4
Pivot Turn 2/4 step, ball and turn
measures
and so on
Touch step 2/4 or 3/4 1, 2, or 3 counts Touch, close
Change step 2/4 or 3/4 1 measure Step, close, step
Execute 2 waltz steps
Waltz Turn 2/4 or 3/4 2 measures
to make turn
Step R; step L close
Waltz step 2/4 or 3/4 2 measures
to R in rear; step R
Stamp (R) (L) and
Stamping 2/4 or 3/4 1 measure close to supporting
foot (L) (R)

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The following are the legend in the interpretation and execution of a

particular dance step.
M – measure R – right B – backward
F – forward L - left cts. - counts

Activity 2 Copy the table below in your paper. Put a checkmark (/) on the
column corresponding to the dance steps you practice for the week.

Date: Date: Date: Date: Date: Date: Date:

Dance Steps
Mon Tues Wed Thurs Fri Sat Sun

Slide (glide)

Skip

Bleking

Gallop

Mincing

Parallel
Tortillier

Pivot Turn

Touch step

Change step

Waltz Turn

Waltz step

Stamping

Let Us Remember

Folk Dance - a form of dance developed by a group of people that reflects the
traditional life of the people of a certain country or region.
Padyak - to stamp or tap with one foot and the weight of the body is on the
other foot
Saludo - it means to bow
Arms in Lateral Position - both arms are in one side at shoulder level,
either right or left
Set -a dance formation of two or more couples

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Bend - to move the body or part of the body around wide axis
Leap - to spring one foot and land on the other foot
Accent - emphasis on a beat, usually but not always, the first beat of the
measure
Acculturation - a process in which members of one cultural group adopt
the beliefs and behaviors of another group
Culture - the totality of socially transmitted behavior patterns, arts, beliefs,
institutions, and all other products of human work and thought
Dynamics - an interactive system or process, especially one involving
competing or conflicting forces
Folk Dancing – a great exercise and a fun recreational activity for people of
all ages
Improvisation – created extemporaneously, without planning
Lifelong Fitness – the condition of being fit and healthy throughout life
Tempo – the rate of speed from fast to slow
Traditions – a mode of thought or behavior followed by a group of
people continuously from generation to generation; a custom or usage
Wellness – a way of life purposely designed to enjoy the highest level of
health and well -being possible, including nutrition, weight control, avoiding
substance abuse, being physically fit and leading an active life, controlling
stress, developing good relationships with others, living with high values
and ethics, and attending to spirituality

Let Us Assess
A. In your paper, match Column A with Column B.

Dance Step Step Pattern

1. Stamping a.Slide, close
2. Waltz Step b.Step and hop
3. Waltz Turn c.Heel-place, close
4. Change Step d.Step and cut
5. Touch Step e.Step, step, step and so on
6. Pivot Turn f.Pivot and turn heels, pivot and turn toes
7. Parallel Tortillier g.Step, ball and turn, step
8. Mincing h.Touch, close
9. Gallop i.Step, close, step
10. Bleking j.Execute 2 waltz steps to make turn
11. Skip k.Step R; step L close to R in rear, step R
12. Slide l. Stamp (R) (L) and close to supporting foot (L)
(R)
m. Step R, brush, close

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B. Copy the table in your answer sheet, Complete the information by filling
out the contents in the corresponding column.

Name of Dance Literal Place of Dance Asian

Dance Meaning Origin Classification Country of
influenced
Sakuting

My Pomelo
Tree
Wedding/
Festival
dance
Lingayen,
Pangasinan

Let Us Reflect
Now you’re done reading the lesson. Kindly answer the questions
below and write your answers in your paper.

1. Have you ever thought of expressing your feelings through the dance
you performed in school like folk dancing? Explain.
2. Do you find folk dancing an effective way of expressing yourself?
Justify.

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Lesson
Interpreting Dance Literature
2
Let Us Learn!
This activity will allow you to experience the exquisiteness of
understanding folk dancing by interpreting the dance literature of
Binislakan and Sua-Ku-Sua.
Here are the dance figures of the two among the Philippine folk dances
which have an Asian influence.

BINISLAKAN

Dance Properties:
Costume: Female - Siesgo and kimono with loose and long
sleeves and soft panuelo
Male - Camisa de Chino and red pants,
Music : 2/4 composes of two parts – A and B
Count : One, two, one and two, and one and two and
Formation : Partners stand about six feet apart. One or more
pairs in a set can take part in the dance, in any formation desired.

Dance Literature

Music Introduction
Partners face audience.
a.) Cross sticks overhead; R-hand stick over L-hand stick and look
upward…………………………………………………………………………...3M
b.) Bend trunk forward and bring down point of crossed sticks close to
floor……………………………………………………………………………….1M
FIGURE I
Music A
Face audience.

a.) Starting with R foot, take four changed steps sideward right and left
alternately, raising alternately the L foot and R foot slightly above the
floor; bend trunk sideward right and left alternately. Strike sticks
sideward right and left alternately, three times to a measure,
R, L, R, L, R, L (cts. 1 and 2) to every measure…………………………4M

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b.) Execute mincing steps sideward right. Strike sticks overhead four
times to a measure, R, L, R, L, R, L alternately. Look upward……… 2M
c.) Bend knees and twist trunk to the left; strike sticks backward R, L, R
(cts.1 and 2; look backward right ………………………………............1M
d.) Straighten trunk and stamp foot R, L, R (cts. 1 and 2). Strike sticks R.
L, R in front of chest……..……………………………………………………1M
e.) Staring with L foot, repeat (a-d) toward the opposite direction, stamp
feet L, R, L………………………………………………………………………..8M
II
MUSIC B
Face audience.
a.) Paw (like scratching foot backward) L foot backward and at the same
time, step R foot sideward four times, step on R foot with springy
movements like small leap; bend trunk slightly sideward right; R hand
bend in front in level with head, stick pointing toward audience; L
hand down in rear, stick pointing sideward left; look at left shoulder
cts. 1,2,1,2) ……………………………………………………..………………2M
b.) Tap L foot in front two times; bend trunk forward to that foot and
strike sticks twice in front close to the tapping foot (cts. 1 and);
straighten trunk and step L close to R foot, strike sticks once in
front………………………………………………………………………….……1M
c.) Repeat (b) with R foot, bend trunk toward R foot…………………… 1M
d.) Repeat (a-c), in reverse direction and position …………………………4M
e.) Face partner and repeat (a-d)……………………………………………….8M
III
Music A
Face audience.
a.) Jump forward and bend trunk forward. Cross sticks, R stick over L
stick below knee level………………………………………………………….1M
b.) Straighten trunk and raise gradually the sticks overhead; sticks are
still crossed. Look upward …………………………………………………..1M
c.) Repeat (a) and (b)……………………………………………………………….2M
d.) Execute mincing steps going backward; arms are in reverse “T”
position and shiver sticks sideward. Bend head sideward right and left
every two counts………………………………………………………………..2M
e.) Execute mincing steps turning right about, finish facing away from
audience (1M).
Raise R knee and strike sticks once under it (ct.1), straighten knee
feet together and strike sticks once in front (ct. and), raise L knee and
strike sticks once under it (ct.2)…………………………………………….2M
f.) Repeat (a-d), facing away from audience ………………………………….6M
e. Repeat (e); finish facing audience………………………………….…………2M

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IV
Music B
Partners face each other.
Boy and girl do their movements simultaneously.
Girl’s Movements:
a.) Starting with R foot, execute eight change steps clockwise around the
boy. Strike sticks overhead and at the back alternately three to a measure.
Strike sticks at the back. Kneel on both knees on the last count…………..8M
b.) Do the movements of the boy below (a-c), Finish facing audience….8M
Boy’s Movements:
c.) Kneel on both knees and strike sticks on the floor at the right side
three times (cts1, and 2); strike sticks overhead three times upward (1M);
strike sticks at the left side on the floor three times (1M); strike sticks
overhead three times 1M……………………………………………………..…..4M
d.) Repeat (a); stand at the last count ………………………………………...4M
a. Repeat movement of the girl (a). Finish by facing the audience……..8M
V
Music A
Partners face audience.
a.) Take one change step side ward right (cts. 1,2), raise L foot above the
floor in (ct.2), bend trunk side ward right and strike sticks to sideward
right three times to a measure R,L,R…………………………………………1M
b.) Repeat (a) three times more, to sideward to the left and sideward to
the right alternately. Raise R foot above the floor when doing the change
step sideward to the left and strike sticksL,R,L……………………………..3M
c.) Face partner and strike sticks on floor in front, full knee bending R
knee lower than L knee (cts. 1, and 2, and)………………………………..1M
d.) Stand, straighten trunk, and strike sticks, R, L, R, L in front (cts. 1,
and 2, and)………………………………………………………………………...1M
e.) Step R foot forward (ct.1) hop on R foot, raise L foot slightly close to R
foot, strike both sticks diagonally right head level, with partner (ct. and).
step L foot sideward (ct.2), hop on L foot, and strike sticks diagonally to
the left with partner (ct.and)……………………………………………………1M
f.) Stamp feet R, L, R, strike sticks in front R,L,R (cts.1, and 2)…….…1M
g.) Repeat (a) and (b), facing audience……………………………………..…4M
h.) Repeat (c) and (f), facing audience……………….……………………..…4M
VI
Music B
a. Starting with R foot, execute two change steps going forward to meet
partner at center finish in one line. Girl in front of boy; facing the
audience. Strike sticks three times R, L, R overhead (look upward)
(cts. 1, and 2)………………………………………………………………….2M

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b. Starting with R foot, execute six change steps to the right and to the
left alternately, going around clockwise. Strike sticks as (a). Finish in
a circle facing center ………………………………………………………..6M
c. Staring with R foot, take four change steps going toward the center.
Strike sticks as (b)……………………………………………………………..4M
d. Repeat (c) , going backward; finish facing right………………………..4M

SALUDO
Music Finale:
a. Execute mincing steps counterclockwise; finish in line formation
facing audience, as shown in Figure I. Arms in reverse “T” position
and shake sticks sideward; bend head sideward right and left
alternately every two counts………………………….……………………..3M
b. Stamp feet R, L, R and strike sticks overhead R, L, R (cts.1 and 2).
Look upward…………………………………………………………………. 1M
c. Mincing steps, turning right slowly; finish by facing the audience;
sticks are still crossed overhead and looking upward ………………...3M
d. Feet together, bend trunk slowly forward, bringing down the crossed
sticks below the knee. Sticks touch the floor in the last
count…………………………………….………………………………………..1M
SUA-KU-SUA
Dance Properties:
Costume: Female
Top ( Barawasi) – traditional loose blouse, long sleeves with deep
plunging key-hole neckline
Pants (Sawal/Kantiu) – loose Chinese pants with 10-inch soft
white band attached to a wide waist
Shoulder band (Siyag) – a separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left side
Headpiece – varied choices : (1) gold or brass filigree called
tusuk; (2) paper bills pasted on slender sticks; (3) Chinese
crown-like covered with gold foil
Accessories – gold or imitation of gold earrings, necklace,
bracelets, brooches
Male -
Top ( Bajo) – short-waist collarless shirt
Pants ( Sawal/Kantiu) – similar to the pants of females but in
darker colors and bolder designs
Accessories: money belt, sarok hat, pis siyabit (rectangular
hand-wooven scarf tied on the head or hung loosely over

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one shoulder), kris (wavy knife) or barong (leaf-

knife)
Music : 2/4 or 4/4 composes of three parts – A, B and C
Count : One, two to a measure in 2/4 time signature; 1, 2,
3, 4 to a measure or 4/4

Dance Literature
Introduction
Music Introduction
Pause
FIGURE I
Music A.
Partners face audience.
Throughout this figure, the knees are slightly bent and turned outward.
Arms extended side ward with a fan in each hand.
a.) Take 32 walking steps forward turning the hand from the wrist down and
up alternately on every count (figure of eight). Bend the head sideward to the
right and to the left alternately in time with the hand movement…………..8M
II
Music B
Partners face audience.
a.) Place R heel forward, arms sideward (cts.1,2), take six steps in place,
move hands as shown in Figure I (cts. 3, 4; 1 2, 3,4)…………………………2M
b.) Place R heel forward two times (cts. 1, 2, 3, 4)………………………………1M
c.) Take four steps turning right about in place, arms and hand movements
as in (a)……………………………………………………………………………………1M
d.) Repeat all (a-c). Finish the turn until you are facing your partner……..4M
III
Music C
Partners face each other.
a.) With arms in fourth position, L arm high, step R forward and raise L foot
in rear, turning the hands down (ct.1), step L in place, turning hands up
(ct.2), step R backward and raise L foot forward, moving R arm to 2nd
position and turning hands down (ct.3), step L foot in place turning hands
up (ct.4)…………………………………………………………………………………...1M
b.) Take four walking steps forward to be in line with partner by R
shoulders, arms and hand movements in Figure I .(cts. 1, 2, 3, 4)………..1M
c.) Repeat (a) and (b). Finish in partner’s place………………………………….2M
d.) Turn left about and repeat (a-c). Finish in proper places (Partners are by
L shoulders in (b)……………………………………………………………………….4M
IV
Music A
Partners face each other.
Arm Position: Place both arms in front at waist level. Wrist of R hand is up,
finger tips pointing downward, while the L hand in reverse position. R
hand is in front of L.
Arm Movement: With wrist leading, raise R hand up and pull L hand down,
palms in (ct. 1), flip hands to reverse position and movement (ct.2).
Repeat same (ct.2)

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a.) Step R across L in front (ct.1), step L sideward (ct.2).Repeat the same
steps (cts. 3, 4)…………………….………………………………………….1M
b.) Repeat (a) three times more moving in a circle clockwise, always facing
partner. Boy finishes facing audience while girl finishes behind the
boy……………………………………………………………………………..…3M
c.) Girl: repeat (a) and (b) moving clockwise while facing the line of direction
Boy: repeat (a) and (b) in place……………………………………………..4M
V
Music C
Partners face each other.
a.) Take three walking steps obliquely forward left (cts. 1,2,3), turn right
about pivoting on the ball of R foot and raising L foot across the R
knee in rear (ct.4). From 2nd position, move the arms downward-
forward (as if scooping). Finish with the palms up (cts. 1,2), turn both
hands toward chest inward. Continue the turn and end up with arms
forward palms facing front, finger tips in (ct.3), pull hands outward
away from each other (ct.4)………………………………………………….1M
b.) Repeat (a) starting with the L foot turning left about………………………1M
c.) Repeat (a) and (b) two times more………………………………………………4M
Boy: take seven walking steps obliquely forward left, arms and hands as
shown in Figure I (cts. 1,2,3,4; 1,2,3), point L foot sideward (ct.4).
Girl: take four steps turning right about in place (cts. 1 2,3,4) and three
steps in place (cts. 1,2,3), point L foot sideward (ct.4). Hand movement
is the same as that of boy…………………………………………………….2M
Note: Partners are now in one line facing front, Girl at partner’s side.
VI
Music A.
a.) Step L across R in front (ct.1), step R sideward (ct.2), arm and hand
movement as shown in Figure I. Repeat same two times more (cts.3,4;
1,2), step L sideward (ct.3), point R foot sideward (ct.4)………………2M
b.) Repeat (a) starting with the R foot moving to the opposite direction……2M
c.) Repeat (a) and (b). Close feet together on the last count…………………..4M
VII
Music B.
Girl turns left about so that R shoulder is toward partner. Extend R arms
sideward, hand of Girl on top of boy’s hand, L arms are raised
overhead.
a.) Starting with the R foot, take sixteen walking steps forward moving half-
way clockwise. Finish in partner’s place………………………………….4M
b.) Turn about and repeat (a) moving counter clockwise with the boy
following the Girl. Reverse position of the hands. Finish in proper
places……………………………………………………………………………..4M

VIII
Music B
Partners face each other.
a.) Step R forward and move arms to the 2nd position (ct.1), raise L foot
close to the R knee. Raise arms overhead and flip hands down (ct.2),

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cross turn right about in place. R arm up. Shake L hand obliquely
sideward- downward (cts. 3,4; 1,2,3,4)……………………………………2M
b.) Repeat (a) with the L foot. Reverse position of arms…………………….…2M
c.) Repeat (a) and (b)…………………………………………………………………..4M
IX
Partners face each other.
a.) Take four walking steps to girl’s place. Hands as in Figure VII (d)……..1M
b.) Place R heel forward. Bend trunk forward and place R and L cheek close
to that of partner alternately four times (cts. 1,2,3,4). Fans are held
close to the waist……………………………………………………………….1M
c.) Take four walking steps to the center………………………………………….1M
d.) Repeat (b)…………………………………………………………………………….1M
e.) With fans held sideward-downward, palms down, stamp R foot five times
in place (cts. 1, and 2, and 3). Flip fans and strike the thighs with the
fans (ct. and), Raise arm side ward, palm down (ct. 4)………………..1M
f.) Take four steps turning right in place, arms obliquely sideward-
downward………………………………………………………………………...1M
g.) Repeat (e) and (f)…………………………………………………………………….2M
h.) Take eight steps turning right. Finish facing front…………………………2M
X
Music B
Starting with the R foot, take four walking steps forward to meet partner at
center, arms as shown in Figure I………………………………………….1M
a.) Place R heel forward. Girl leans back with hands close to hips, palms
facing front. Move head sideward to the left and to the right
alternately four times. Boy taps R and L shoulder of the Girl with the
fan held by the R hand alternately four times (as if chopping) (cts.
1,2,3,4)…………………………………………………………..……………….1M
b.) Take four walking steps to Boy’s place. Boy moves backward while Girl
moves forward. Arms as in (d)……………………………………………….1M
c.) Repeat (c). This time the Girl does the choppy movement and the Boy, the
head movement…………………………………………………………………1M
d.) Take four walking steps to center. Boy moves forward while the Girl
moves backward………………………………………………………………..1M
e.) Repeat (e)……………………………………………………………………………..1M
f.) Stamp R foot five times in place (cts. 1, and 2, and 3), raise R foot and hit
the thighs with both fans (ct.and), flip fans outward (ct.4)……………1M
g.) Three-step turn right in place (cts.1,2,3), close feet together (ct.4). arms
down at sides, tips of fans facing sideward-outward…………………..1M
h.) Repeat (g) and (f)…………………………………………………………………..2M
i.) Starting with the R foot, take four walking steps (Boy moving forward, Girl
moving backward). Arms in reverse “T” position, fans facing front (cts
1,2,3,4). Sway fans in a figure of eight for every count………………..1M
j.) Boy bends trunk forward while Girl leans backward. Move the heads (Boy
to right side, Girl to left side) (ct.1), reverse the direction (ct.2), repeat
the same (cts.3,4)……………………………….……………..……………….2M
k.) Repeat (j) and (k)……………………………………………………………………2M
l.) Take four steps to face front, arms as in (f)…………………………………..1M
m.) Two steps to turn right in place and pause………………………………….1M

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Finale
Step L side ward (cts. 1,2), step R across L in front, knees are slightly bent
(cts. 3,4). Twist trunk to the right, R arm obliquely downward-side ward, L
arm obliquely forward-upward shaking fans (cts. 1,2,)……..………………...2M

Let us Practice
Since you already familiar with the dance steps in Lesson 1, this
time, interpret the dance literature of the folkdances Binislakan and Sua-Ku-
Sua in Lesson 2. Copy the table below in your paper and put a checkmark to
the corresponding dance figure you performed for the whole week.

BINISLAKAN
Date: Date: Date: Date: Date: Date: Date:
Dance
Mon Tues Wed Thurs Fri Sat Sun
Figures
I
II
III
IV
V
VI

SUA-KU-SUA Date: Date: Date: Date: Date: Date: Date:

Dance Figures Mon Tues Wed Thurs Fri Sat Sun
I
II
III
IV
V
VI
VII
VII
IX
X

Let Us Practice More

In this activity, you are going to practice the folkdances with the
recorded music of it. Use the link provided below.
BINISLAKAN - https://www.youtube.com/watch?v=rAvXZ10ANy8
SUA-KU-SUA -https://www.youtube.com/watch?v=AlKrExQHsRA

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Let Us Assess
Mark a check in the line that corresponds to your answer.
A. To what extent did you…
1. learn the dance steps?
_____ to a great extent _____to a moderate extent ____to a lesser extent
2. execute correctly the dance step combinations?
_____ to a great extent _____to a moderate extent ____to a lesser extent
3. memorize the dance?
_____ to a great extent _____to a moderate extent ____to a lesser extent
4. express your emotions and feelings on the dance?
_____ to a great extent _____to a moderate extent ____to a lesser extent
B. Describe your performance.
______I performed the basic movements correctly.
______I enjoyed executing the dance steps.
______I followed the instructions given.
______I danced gracefully.
______I practiced the dance every day.

Let us Enhance
Choose between Binislakan or Sua-Ku-Sua that you are going to
perform. Record a video of your final performance and submit it to your
teacher through messenger, e-mail address or mp4 copy in flash drive.
Your output will be rated based on the rubric below.
Mastery of the Execution of
Dance and Dance Rhythm and Performance
Weight
Artistic positions and Timing Skills
Presentation Movements
10 Performs steps Dance Shows a Demonstrates
(Excellent) with high level of performed with complete sophisticated
mastery, while great attention understanding characterization
creating several to quality of of tempo and and appropriate
formations in the movement, beat and stays behavior toward
dance floor body position, on rhythm the dance and
placement on throughout partner with
the dance floor the dance. high level of
confidence
8 (Good) Performs steps Dance Accurate in Demonstrates
with mastery, performed with beat, tempo, typical
while creating attention to rhythms of characterization
sufficient details of dance and appropriate
formations in the technique, has sequences behavior toward
dance floor attained throughout the dance and
proficiency in the dance. partner with
dance style.

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high level of
confidence
6 Performs steps Dance Generally Demonstrates
(Acceptable) with mastery but performed with accurate in general
with limited yet attention to beat, tempo, acceptable
growing ability tomost details of rhythms of characterization
execute them technique, but dance and appropriate
while creating hasn't attained sequences behavior toward
several proficiency in most of the the dance and
formations in the dance style yet. time. partner with
dance floor Some technical high level of
errors. confidence
4 (Partial) Performs steps Only some Shows a basic Displays
with minimal understanding understanding inconsistent
errors in the of technical of tempo and characterization
sequence of elements (ie. beat, but falls and appropriate
figures of the footwork, behind and/or behavior toward
dance quality of speeds up in the dance and
movements, places or partner with
body positions) makes errors high level of
demonstrated in rhythm. confidence
in performance
2 (Minimal) Performs steps Although Attempts to The dancer is
with low or no remembers keep a not very focused
mastery and is some of dance, rhythm, but on making eye
not capable of little attention gets off beat contact,
creating paid to how and speeds up concentrated or
formations in the movements are or falls behind committed to
dance floor done or other often. Doesn't performance
details of follow beat in
dance music

Let us Reflect
Compare and contrast the folkdances below using a Venn diagram.

BINISLAKAN SUA-KU-SUA

Similarities
Differences Differences

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POST ASSESSMENT:
Direction: Choose the letter that corresponds to the correct answer
for each statement below. Write your answer on your paper.

____1. What dance that has been developed that reflects the life of the people
of a certain country or region?
a. Religion c. Culture
b. Folk Dance d. All of the above
____2. “Heel-place, close” is a step pattern of what dance step?
a. Gallop c. Touch Step
b. Bleking d. Slide
____3. What is the step pattern of slide (glide) step?
a. touch, close c. Step, close, step
b. Step and cut d. Slide, close
____4. What do you call the ethnic term that refers to the rhythmic sticks
producing the accompaniment of the dance?
a. Tiklos c. Sakuting
b. Pangalay d. Sua-Ku-Sua
____5. What is the correct step pattern of Waltz Step?
a. Pivot and turn heels, pivot and turn toes
b. Touch, close
c. Stamp (R) (L) and close to supporting foot (L) (R)
d. Step R; step L close to R in rear; step R
____6. The following are the things to be done in preventing injuries in
dancing except:
a. Eat well and stay hydrated before, during and after class.
b. Sleep well
c. Get enough rest and avoid overtraining.
d. Do cross-training exercises to build strength and endurance in all
parts of your body.
____7. “Pivot and turn heels, pivot and turn toes” is a step pattern of what
dance step?
a. Parallel Tortillier c. Pivot Turn
b. Mincing d. Skip
____8. “Step and cut” is a step pattern of what dance step?
a. Mincing c. Touch Step
b. Slide d. Gallop
____9. Cocie is tasked to perform the pattern “Step-close-step”. What do you
call the dance term he performed?
a. Change Step c. Mincing
b. Pivot Turn d. Slide

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____10. What is the correct step pattern of Waltz Turn?

a. Pivot and turn heels, pivot and turn toes
b. Execute 2 waltz steps to make a turn
c. Stamp (R) (L) and close to supporting foot (L) (R)
d. Step R; step L close to R in rear; step R
____11. The following are reasons why fitness is a universal concern,
EXCEPT ONE;
a. We face different challenges everyday so we have to keep ourselves
fit all the time to overcome them
b. Everyone needs to be physically fit to meet daily physical challenges
c. One can influence the community fitness consciousness effectively
if he or she fosters fitness and well-being
d. To be a good athlete or player in a certain sport
____12. “Touch, close” is a step pattern of what dance step?
a. Touch Step c. Gallop
b. Waltz Step d. Mincing
____13. What is the correct step pattern of Skip?
a. Pivot and turn heels, pivot and turn toes
b. Move along lightly, stepping from one to the other with a hop or
bounce.
c. Stamp (R) (L) and close to supporting foot (L) (R)
d. Step R; step L close to Rin rear; step R
____14. “Step, ball and turn, step, ball and turn and so on” is a step pattern
of what dance step?
a. Parallel Tortillier c. Pivot Turn
b. Mincing d. Skip
____15. “Stamp (R) (L) and close to supporting foot (L) (R)” is a step pattern
of what dance step?
a. Stamping c. Bleking
b. Change Step d. Gallop

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23
Let Us Assess
A
POST ASSESSMENT
1. l 7. f
1. b
2. b 2. k 8. e
3. j 9. d
3. d
4. I 10. c
4. c
5. h 11. b
5. d
6. g 12. a
6. b
Lesson 1
7. a
8. d B.
Let us Try
9. a
10. b 1. Sua-Ku-Sua
11. d 2. Binislakan
12. a 3. Pangalay
13. b 4. Sakuting
14. c 5. Tiklos
15. a
Answer key
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References

Physical Education and Health Grade 8 Learner’s Module First Edition,

2013 – Unit IV pages 153-191

Enjoy Life with P.E and Health II Textbook for Second Year, 2012 – Unit
IV pages 147 -151

Photo taken from

https://www.google.com/search?q=sua+ku+sua&rlz=1C1CHBF_enPH85
7PH858

Photo taken
https://www.facebook.com/www.BangsaTausug/photos/pb.743517359
397607

Photo taken
https://www.google.com/search?q=tiklos+folk+dance&tbm=isch&ved=2a
hUKEwiXk9K3uMbvAhVC6ZQKHVqCBAAQ2-

Adapted from:
https://www.google.com/search?q=sakuting+folk+dance&rlz=1C1CHBF_
enPH857PH85

Adapted from:
https://www.google.com/search?q=binislakan+folk+dance&tbm=isch&ve
d=2ahUKEwi4i9nzusbvAhVtEqYKHcJGAJQQ2-

Photo taken from

https://www.google.com/search?q=philippine%20folk%20dance%20clipa
rt&tbm=isch&rlz=1C1CHBF_enPH857PH858&hl=en&sa=X&ved

https://www.pinterest.ph/pin/466404105132278049/

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For inquiries or feedback, please write or call:

Department of Education – Region XI

Office Address: Energy Park, Apokon, Tagum City, 8100

Telefax: (084) 216-3504

E-mail Address: [email protected]

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