PHYSICAL

EDUCATION
Fourth Quarter
Module 1: Regional and
National Dances with
Asian Influence

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 8
PHYSICAL
EDUCATION
Fourth Quarter

Module 2: Module 1:
Regional and
National Dances with
Asian Influence

2
 Republic of the Philippines
Department of Education
REGION VII, CENTRAL VISAYAS
SCHOOLS DIVISION OF SIQUIJOR

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of Education – Siquijor Division.

It can be reproduced for educational purposes and the source must be clearly acknowledged. The material may be
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Borrowed materials (i.e. songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module
are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these
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Published by the Department of Education

OIC-Schools Division Superintendent: Dr. Neri C. Ojastro

Assistant Schools Division Superintendent: Dr. Edmark Ian L. Cabio

Development Team of the Learning Module

Writer: __Grace B. Ligutom___

Evaluators:

Management Team: Dr. Marlou S. Maglinao

CID – Chief

___EARL ASO____
Education Program Supervisor (MAPEH)

Edesa T. Calvadores
Education Program Supervisor (LRMS)

Printed in the Philippines by___________________________

Department of Education – Region VII, Central Visayas, Division of Siquijor
Office Address: Larena, Siquijor
Telephone No.: (035) 377-2034-2038

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 What I Need to Know

This unit will introduce you to the different regional and national folk
dances of the Philippines with influences from other Asian countries. We are
part of the ongoing history of trade and industry and that part and parcel are
influences retained in us like textiles, color of fabrics and design reflected in
the costumes of the dance. Furthermore, this unit anchors its framework on
the holistic approach of using regional and national dances as potent sources
for staying healthy and fit. At the same time, these dances are prime
educational tools for learners like you.

At the end of this lesson, you will be able to:

➢ Execute the skills involved in the dance. PE8RD-IVd-h-4

What I Know

PRE-TEST

Matching Type
Directions:
Match the fundamental position of the arms in Column A with
the fundamental position of the feet in Column B. Write the letter of the
correct answer in your notebook.

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 COLUMN A COLUMN B

1. A.

2. B.

3. C.

4. D.

5. E.

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What`s What’s In

Classification of Philippine Folk Dances

Folk dancing is a very wholesome form of recreation enjoyed by

everybody. Significantly, part of the rich Filipino culture and arts is folk
dance. There are several dances for all occasions, i.e. wedding, occupation,
festival, war and victory.

Francisca Reyes Aquino, the Philippine’s national artist and Mother of

the Philippine Folk Dances started the collection of dances and songs as early
as 1924. She authored six volumes of books in different Philippine folk dances
and many other unpublished books. These dances have been categorized into
non-Christian or their ethnic dances and Christian dances. The ethnic dances
are described as the highest form of art of the Filipino dances because of their
innate, unique, and beautiful movements. The Christian dances mostly
adopted the Spanish and other European influences and mixed the native
Filipino culture. These Christian dances include Jotas, Pandanggo, and
Habaneras.

Francisca Reyes Aquino identified the Philippine Folk Dances based on

general and special classifications.

GENERAL CLASSIFICATION
GEOGRAPHY NATURE MOVEMENTS FORMATION
National Occupational Active Square or
• Rigodon • Planting • Tinikling Quandrille
• Cariñosa • Harvesting • Maglalatik • Rigodon
• Jota • Pounding • Sakuting • Los Bailes
• Balitaw • Winnowing • Polkabal de Ayer
• Pandanggo • Pabirik
• Mananguete Moderate Long Formation
Local • Cariòosa • Lulay
• Tinikling Religious • Tagala • Sakuting
• Maglalatik • Dugsu • Habanera
• Esperanza • Sua-Ku-Sua • Puripuri Set
• Subli • Putong • Binadyong
• Biniganbigat • Sta. Slow • Haplik
Clarang • Pasakat • kakawati
Pinong-pino • Amorosa
• Tiliday
Comic • Kundiman

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 • Kumbo-
kumbo
• Makonggo Slow & Fast
• Kinoton • Putritos
• Ba-Ingles
Game • Habanera
• Lubi-lubi • Botoleoa
• Pavo • Alcomfor

Wedding
• Panasahan

Courtship
• Hele-hele
• Bago Quire
• Maramion
• Tadek
• Daling-
daling

Festival
• Pandanggo
• Habanera
• Jota
• Suntido

War
• Sagayan
• Palu-palo

SPECIAL CLASSIFICATION
OLD BALLROOM DANCES WITH DANCES OF
DANCE IMPLEMENTS COMBINED RHYTHM
• Polka • Maglalatik • Surtido
• Mazurka • Sakuting • Pantomia
• Chotis • Jota Macadeoa • Los Bailes de
• Valse • Tinikling Ayer
• Salakot

Descriptions
1. National Dances – present throughout the island with little or no
modification.
2. Local Dances – present in certain localities only.
3. Occupational – dances depicting action of certain occupation,
industry or human labor.
4. Religious or Ceremonial – dances being performed in connection
with religious vows and ceremonies.

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 5. Comic Dances – depicting funny movements for entertainment.
6. Game Dances – having play elements (dance mixers).
7. Wedding Dances – dances being performed during wedding feast.
8. Courtship Dances – dances depicting lovemaking.
9. Festival Dances – dances fitting for special occasion or any social
gathering.
10. War Dances – dances showing imaginary combat or duel.

CHARACTERISTICS OF PHILIPPINE FOLK DANCES

Philippine Folk Dances are described in terms of the following:

1. Dancers stand apart.

2. Partners stay apart at 6’ away.
3. There is little, if any, bodily contact.
4. Most dances are in long formation.
5. Most of the dances are done by pairs or couples.
6. Hand movements play an important part.
7. Most dances begin and end with “saludo”.
8. Dance from the lowlands have more foreign elements than those found
in the uplands.
9. War dances are found among non-Christian tribes.

Do’s in Folk Dancing

Folk dancing will require the following tips:

1. Dance in natural, simple, and direct manner.

2. Dance with ease and smoothness.
3. Use the proper costumes for dance.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.

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 What`s New

Challenge Your Mind

Directions:
Draw the fundamental dance positions involved in folk dancing.

A. Position of the Arms

1st Position 2nd Position 3rd Position

4th Position 5th Position

B. Position of the Feet

1st Position 2nd Position 3rd Position

4th Position 5th Position

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What Is What Is It
TIME TO READ

FUNDAMENTAL DANCE POSITIONS, TERMS, AND

FORMATIONS

Fundamental Positions of Arms in Folk Dancing

The fundamental positions of the arm in folk dancing include five

positions.

First Position: Arms are raised forward forming

circle in waist level with
fingertips of both hands about
an inch apart.

Second Position: the arms are placed sideways

a little below shoulder level with
palms facing up.

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Third Position: The right/left arm is raised
above the head forming half a
circle (amplified position), while
the left/right arm remains in the
second position.

Fourth Position: The right/left arm is still raised

and remains in an amplified
position, while the left/right arm
is placed in front of the chest, as
in the first position.

Fifth Position: Both arms are raised forming a

circle over the head in an
amplified position.

Fundamental Positions of the Feet in Folk Dancing

Folk dancing requires the five fundamental positions of the feet.

First Position: Both heels are together while toes

are apart at an angle of about 45
degrees or more.

Second Position: Both feet apart sideward about

a pace distance. Heels are
parallel to each other.

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Third Position: The right heel of one foot is close
to the instep of the left foot.

Fourth Position: The right foot is forward about

a pace distance with toes out.

Fifth Position: The right foot is placed in front of

the left foot with the right heel
close to the toes of the left foot.

Common Dance Terms Used in Folk Dancing

The following terms are necessarily in understanding the principles of

folk dancing and in executing the steps.

1. Arms in Lateral Position – both arms are at one side, either right or
left; at shoulder, chest, or waist.
2. Brush – weight on one foot, hit the floor with the ball or heel of the other
foot and lift that foot from the floor to any direction.
3. Cabeceras – the couples occupying the width of the hall when dancers
are in square formation (head couple).
4. Clockwise – like the motion of the hands of the clock, right shoulder is
toward the center. Movements are toward right when facing
center of the circle.
5. Counterclockwise – the reverse direction of clockwise, L shoulder
toward the center. Movements are toward right when facing
center of the circle.
6. “Costados” – the couples occupying the length of the hall when dancers
are in square formation (side pairs).
7. Crossed Arms – partners facing each other or standing side by side join
their L hands together and the R hands together; either L over R
or R over L hands.

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8. Cut – to displace quickly one foot with the other.
9. Do-Si-Do (Dos-a-dos) – partners advance forward, pass each other’s
right/left side, step across to the right/left move backward
without turning around, pass each other left/right side to proper
places.
10. Free Foot – the foot not bearing the weight of the body.
11. Free Hand – the hand not placed anywhere, or not doing anything.
12. “Hayon-hayon” – to place one forearm in front and the other at the
back of the waist.
13. Hop – a spring from one foot landing on the same foot in place or in
any direction.
14. Inside foot – the foot nearer the partner when partners stand side by
side.
15. “Jaleo” – partners turn around clockwise (with R elbows almost
touching) or counter clockwise (with L elbows touching) using
walking or any kind of dance step.
16. Jump – a spring on one foot or both feet landing on both feet in any
direction.
17. “Kumintang” – moving the hand from the wrist either in a clockwise
or counter clockwise direction.
18. Leap – a spring from one foot, landing on the other foot in any direction.
19. Outside foot – the foot away from one’s partner stand side by side.
20. Outside hand – the hand away from one’s partner stand side by side.
21. Place – a foot in a certain position without putting weight on it; the
sole of the foot rest on the floor.
22. Pivot – to turn with the ball, heel, or whole foot, on affixed placed or
point.
23. Point – to touch the floor highly with the toes of one foot, weight of the
body on the other foot.
24. “Saludo” – partners with the feet together bow to each other, to the
audience, opposite dancers, or the neighbors.
25. “Salok” – swinging the arm downward-upward passing in front of the
body as if scooping; the trunk is bent forward following the
movement of the arm doing the “salok”.
26. “Sarok” – crossing the right (or left) foot in front of the left (or right),
bend the body slightly forward and cross the hand down in front
with the right (or left) hand over the left (or right).
27. Set – a dance formation like a square or a unit formation composed of
two or more pairs.
28. Slide – to glide foot smoothly along the floor.
29. Stamp – to bring the foot forcibly and noisily on the floor.
30. Step – to advance or recede by moving one foot to another resting place
with a complete transfer of weight from one foot to the other foot.
31. Supporting foot – the foot that bears the weight of the body.
32. Tap – to rap slightly with the ball or toe of the free foot keeping weight
of the body on the other foot. There is no transfer of weight.
33. Whirl – to make fat turns by executing small steps in place, to right,
on to left.

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 Dance Abbreviations and Symbols Used

L …………………………… left (foot, arm or hand)

R …………………………… right (foot, arm or hand)
ct ………………………….. count
cts …………………………. Counts
fwd ………………………… forward
bwd ………………………… backward
swd ………………………… sideward
M …………………………… measure or measures
X …………………………… boy
O …………………………… girl
……………………………. Direction where going or facing

Key to System Counting

Counting is the most practical way to describe a rhythmic pattern. The

note is the unit in musical rhythm showing the duration in which a tone or
movement (in case of dancing) is taken.

Rest is the character used to indicate silence or pause (in the case of
dancing) for a certain time.

Counts Time Signature Measure

1, 2 2/4 1
1, and 2/4 1
1, 2, 2/4 1
1, ah, 2/4 1
1, 2, 3 3/4 1
1, 2, and 3 3/4 1
1 and 2 and 3 3/4 1

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 BASIC DANCE STEPS WITH STEP PATTERN
Dance Steps Step Pattern and Counting No. of Measure

Bleking Step Heel – place, close 1

ct. 1 ct. 2
Close Step Step, close 1
ct. 1 ct. 2
Brush Step Step, brush 1
ct. 1 ct. 2
Step Swing Step, swing 1
ct. 1 ct. 2
Cut step Cut or displace 1
Hop Step Step, hop 1
ct. 1 ct. 2
Touch Step Point, close 1
ct. 1 ct. 2
Cross Step Cross step, close 1
ct. 1 ct. 2
Slide Step Slide, close 1
ct. 1 ct. 2
Change Step Step, close, step 1
ct. 1 ct. and ct. 2
Cross Changed Step Cross step, close step 1
ct. 1 ct. and ct. 2
Contraganza Leap, cross step, close 1
ct. 1 ct. and ct. 2
Heel and Toe Change Heel in front, point toe bwd,
Step ct. 1 ct. 2 2
step, close, step
ct. 1 ct. and ct. 2
Plain Polka Ste R (fwd/swd/bwd) ct. 1;
close L to R ct. and; step R ct. 1
2; raise L ct. and
Hop Polka Hop-step R fwd ct. 1; close L to
R ct. and; step R fwd ct. 2; 1
pause ct. and
Heel and Toe Polka Heel-place R (front) ct. 1; toe-
point in rear ct. and; step R ct. 1
2; close L to R ct. and; pause
Mazurka Slide R ct. 1, cut R with L ct. 2, 1
hop L and swing R bwd ct. 3
Step-Swing-Hop Step R (any direction) ct. 1,
swing L across R in front ct. 2, 1
hop on R ct. 3
Waltz Step Ste R (fwd/bwd/swd) ct. 1,
close L to R ct. 2, step R in 1
place ct. 3

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Dance Steps Step Pattern and Counting No. of Measure

Waltz Balance Step R (swd/fwd) ct. 1, close L

to R ct. 2, raise both heels and 1
heels down ct. 3
Cross Waltz Cross-step R across L ct. 1,
close L to R ct. 2, step R in 1
place ct. 3
Sway Balance with a Step R (diagonally fwd) ct.1,
Point cross-step L across R cts. 2-3, 2
close L to R and step R bwd
cts. 1-2, point L in front ct. 3
Sway Balance with a Step R (diagonally fwd) ct.1,
Brush cross-step L across R cts. 2-3, 2
close L to R and step R bwd
cts. 1-2, brush L fwd ct. 3
Sway Balance with a Step R (diagonally fwd) ct.1,
Close cross-step L across R cts. 2-3, 2
close L to R and step R bwd
cts. 1-2, close L to R ct. 3
Sway Balance with a Step R (diagonally fwd) ct.1,
Waltz cross-step L across R cts. 2-3, 2
step R bwd and close L to R
cts. 1-2, step in place ct. 3
Engaño with a waltz Step R swd ct.1, cross-step L
across R cts. 2-3, step R swd 2
ct. 1, close L to R ct. 2, step in
place ct. 3

What`s More

Challenge Your Skills #1

Directions:
1. Execute the fundamental positions of the arms and feet while
singing “Bahay Kubo”.
2. Repeat the cycle of the 5 positions until you finish singing the
song “Bahay Kubo”.
3. Document or video your performance and submit it to your
teacher.
4. Assess your performance using the rubric below.

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 RUBRIC- FUNDAMENTAL POSITION OF THE ARMS AND FEET
LEVELS OF PERFORMANCE
Criteria 5 4 3 2 1
Excellent Very Satisfac- Needs Poor Rate
Satisfactory tory Improve-
ment
Mastery of Showed very Almost showed Showed Showed little Performed
Steps high level of mastery of average mastery of poorly the
mastery of executing mastery of executing fundamental
executing fundamental executing fundamental position of the
fundamental positions of the fundamental positions of arms and feet
positions of arms and feet positions of the arms
the arms but some the arms and feet
and feet errors were and feet
evident
Proper Showed Executed the Executed the Executed the Executed the
Execution excellent fundamental fundamental fundamental fundamental
performance positions of the positions of positions of positions of the
arms and feet the arms the arms arms and feet
almost and feet with and feet with incorrectly
accurately but average little
some errors accuracy accuracy
were evident
Rhythm / Followed the Followed the Followed the Could hardly Could not
Tempo correct beat correct beat correct beat catch up catch up with
and tempo of and tempo of and tempo of with the beat the beat and
music music but music with and tempo of tempo of music
excellently some errors average music
were evident accuracy
Timing & Showed Showed Showed Showed little Performed the
Coordination exemplary coordination of average coordination fundamental
coordinated movements coordination and timing without control
movements but slight of and proper
errors were movements timing
evident
Good Form Showed very Showed high Showed Showed very Failed to show
high level of level of average level little level of gracefulness,
gracefulness, gracefulness, of gracefulness, poise and
poise and poise and gracefulness, poise and bearing in
bearing in bearing in poise and bearing in performing the
performing performing the bearing in performing fundamental
the fundamental performing the positions of the
fundamental positions of the the fundamental arms and feet
positions of arms and feet fundamental positions of
the arms positions of the arms
and feet the arms and feet
and feet
Enthusiasm Showed very Showed high Showed Showed little Failed to
high interest interest in average interest in perform the
in executing executing the interest in executing fundamental
the fundamental executing the position of the
fundamental positions of the the fundamental arms and feet
positions of arms and feet fundamental positions of enthusiastically
the arms positions of the arms
and feet the arms and feet
and feet
Total

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What I What I Have Learned

Folk dances are traditionally dances of a country which were evolved

naturally and spontaneously in connection with everyday activities and
experiences of the people.
These are traditional dances handed down from generation to
generation that describe the traditions, belief, occupations, ways of life
and characteristics of people living in a certain nation through body
movements.
The significance of studying and dancing Philippine folk dances are:
o Strengthen patriotism and nationalism
o Appreciate the aesthetic value of Philippine folk dances.
o Preserve the Filipino heritage through folk dancing.
o Promote the Filipino culture through folk dancing.
o Gain healthy posture through graceful and rhythmic
coordination of body movement.
o Provide a healthy form of relaxation and recreation.

What I Can Do

Challenge Your Skills #2

Directions:
1. Analyze and interpret the sample combination of basic steps
with 2 time signature.
2. Add 4 additional steps combinations whenever necessary.
3. Performed accurately and enthusiastically.
4. Consider the sample dance steps given below and performed
using the music of “Leron-Leron Sinta”.
5. Find somebody within your family/relatives or neighbor close
to your house to be your partner in the dance.

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 Sample Dance Steps Routine

Figure I

Partners face audience. Join inside hands.

a. 8 bleking steps R and L alternately ………………………………. 8 M

b. 8 hop steps sideward R and L alternately ………………………. 8 M
c. Repeat all (a-b) ……………………………………………………… 16 M

Figure II

Partners face each other. Girls hold skirt. Boys on waist.

a. 8 change steps R and L alternately ……………………………… 8M

b. 8 cross change steps R and L …………………………………….. 8M
c. 4 heel and toe change steps alternately R and L going to
Partner’s place ……………………………………………………….. 8M
d. Repeat ( c ) going to proper place ………………………………… 8M

Figure III

Partners face audience. Hands the same position as in figure I.

a. 8 plain polka steps R and L alternately …………………………. 8 M

b. 8 hop steps polka R and L alternately …………………………… 8 M
c. 4 heel and toe polka step moving forward ……………………… 8 M
d. Repeat ( c ) moving backward ……………………………………… 8 M
e. Repeat all ( a-d ) ……………………………………………………… 32 M
f. Release holds. Hand the same as in figure II take
8 contraganza R and L ……………………………………………. 8 M

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 RUBRIC- DANCE ROUTINE
LEVELS OF PERFORMANCE
Criteria 5 4 3 2 1
Excellent Very Satisfac- Needs Poor Rate
Satisfactory tory Improve-
ment
Mastery of Showed very Almost showed Showed Showed little Poorly
Steps high level of mastery of the average mastery of performed the
mastery of dance steps mastery of the dance dance steps
dance steps but some the dance steps
errors were steps
evident
Proper Showed Executed the Executed the Executed the Executed the
Execution excellent dance steps dance steps dance steps dance steps
performance almost with average with little incorrectly
accurately but accuracy accuracy
some errors
were evident
Rhythm / Followed the Followed the Followed the Could hardly Could not
Tempo correct beat correct beat correct beat catch up catch up with
and tempo of and tempo of and tempo of with the beat the beat and
music music but music with and tempo of tempo of music
excellently some errors average music
were evident accuracy
Timing & Showed Showed Showed Showed little Performed the
Coordination exemplary coordination of average coordination dance steps
coordinated movements coordination and timing without control
movements but slight of and proper
errors were movements timing
evident
Good Form Showed very Showed high Showed Showed very Failed to show
high level of level of average level little level of gracefulness,
gracefulness, gracefulness, of gracefulness, poise and
poise and poise and gracefulness, poise and bearing in
bearing in bearing in poise and bearing in performing the
performing performing the bearing in performing dance steps
the dance dance steps performing the dance
steps the dance steps
steps
Enthusiasm Showed very Showed high Showed Showed little Failed to
high interest interest in average interest in perform the
in executing executing the interest in executing dance steps
the dance dance steps executing the dance enthusiastically
steps the dance steps
steps
Total

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 Assessment

POST-TEST

INTERPRETING DANCE LITERATURE

Directions: Experience the joy of understanding folk dancing by interpreting

the dance literature of Binislakan. Dance this folk dance with your chosen
partner in your family. Document or video your performance and submit it to
your MAPEH teacher.

BINISLAKAN (Lingayen)
Introduction

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

Music A
Face audience.
a) Starting with R foot, take four change steps sideward
right and left alternately, raising alternately the L foot and
the R foot slightly above the floor; bend the trunk sideward
right and left alternately. Strike sticks sideward right
and left alternately, three times to a measure, R,L,R,L,R,L
(cts. 1 and 2) to every measure ……………………………………….. 4M
b) Execute mincing steps sideward right. Strike sticks
overhead four times to a measure, R, L, R, L, R, L
alternately. Look upward……………………………………………….. 2M
c) Bend knees and twist trunk to 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).
Strikes R, L, R in front of chest ………………………………………. 1M
e) Starting with L foot, repeat ( a-d )toward the opposite
direction, stamp feet L, R, L ………………………………………… 8M

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 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 in front ( ct.1 ), straighten knee
feet together and strike sticks once in front ( ct. and ),
raise L knee and strike sticks once under it ( ct.2 ) …………. 2M
f) Repeat ( a-d ), facing away from audience……………………… 6M
g) Repeat ( e ); finish facing audience ……………………………… 2M

22
 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 times 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:
a) Kneel on both knees and strike sticks on the floor
at the right side three times ( cts. 1, and 2 );
strikes sticks overhead three times upward ( 1M );
strike sticks at the left side on the floor three times (1M );
strike sticks overhead three times ( 1M ) ……………………. 4 M
b) Repeat (a); stand at the last count ……………………………. 4 M
c) Repeat movement of the girl (a).
Finish by facing the audience ………………………………….. 8 M

Music A
Partners face audience.
a) Take one change step sideward to the right (cts. 1, 2),
raise L foot above the floor (ct.2), bend trunk
sideward to the right and strike sticks sideward
to the right three times to a measure R, L, R ………………. 1 M
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 sticks L, R, L ……………………………. 3 M
c) Face partner and strike sticks on the floor in front,
full knee bending R knee lower than L knee
(cts. 1, and 2, and) ……………………………………………….. 1 M
d) Stand, straighten trunk, and strike sticks R, L, R, L
in front (cts. 1, and 2, and) …………………………………….. 1 M
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) …………………. 1 M

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 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 the 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
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) Starting 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,
bring down the crossed sticks below the knee.
Sticks touch the floor in the last count……………………… 1M

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 RUBRIC- CHOSEN PHILIPPINE FOLK DANCE
LEVELS OF PERFORMANCE
Criteria 5 4 3 2 1
Excellent Very Satisfac- Needs Poor Rate
Satisfactory tory Improve-
ment
Mastery of Showed very Almost showed Showed Showed little Poorly
Steps high level of mastery of the average mastery of performed the
mastery of dance steps mastery of the dance dance steps
dance steps but some the dance steps
errors were steps
evident
Proper Showed Executed the Executed the Executed the Executed the
Execution excellent dance steps dance steps dance steps dance steps
performance almost with average with little incorrectly
accurately but accuracy accuracy
some errors
were evident
Rhythm / Followed the Followed the Followed the Could hardly Could not
Tempo correct beat correct beat correct beat catch up catch up with
and tempo of and tempo of and tempo of with the beat the beat and
music music but music with and tempo of tempo of music
excellently some errors average music
were evident accuracy
Timing & Showed Showed Showed Showed little Performed the
Coordination exemplary coordination of average coordination dance steps
coordinated movements coordination and timing without control
movements but slight of and proper
errors were movements timing
evident
Good Form Showed very Showed high Showed Showed very Failed to show
high level of level of average level little level of gracefulness,
gracefulness, gracefulness, of gracefulness, poise and
poise and poise and gracefulness, poise and bearing in
bearing in bearing in poise and bearing in performing the
performing performing the bearing in performing dance steps
the dance dance steps performing the dance
steps the dance steps
steps
Enthusiasm Showed very Showed high Showed Showed little Failed to
high interest interest in average interest in perform the
in executing executing the interest in executing dance steps
the dance dance steps executing the dance enthusiastically
steps the dance steps
steps
Total

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 References

Books

Benavinte, Renato P., et.al., 2013. Physical education and Health: Leaner’s
Module. Department of Education. First Edition.
Dimapilis, Nenita J., et.al., 2010. Physical Education 2: Rhythmic Activities.
Books Atbp. Publishing Corp., Philippines.
Lacia, Gerardo C., et.al. The 21st Century MAPEH in Action: Worksheet in Music,
Arts, Physical Education, and Health. 8 revised edition. REX
Book Store, Philippines.

Images

https://images.app.goo.gl/J7T6uwYPugqeWyDVA

https://images.app.goo.gl/naaUAbmESWzXhzsa7

https://images.app.goo.gl/w7D6imtNorKToPn4A

https://images.app.goo.gl/LwZWt1g6Snzk2Lsr7

https://images.app.goo.gl/syDwGQwzxqNc36d88

https://images.app.goo.gl/d5XsC9gcy3h5S2499

https://images.app.goo.gl/Hw6SqyFZknCjpNej6

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