Pe 103-Dances: Joan M. Pablo

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PE 103-DANCES
JOAN M. PABLO
INSTRUCTOR
Course Code: PE 103
Descriptive Title: DANCES
Instructorr: Joan Marzo-Pablo

GmailAccount: joowanatics@gmail.com
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I. Course Title: DANCES
II. Course Overview:
This coursre highlights the apllication of the rythmic bodily movements which have emphasis
on the fundamental rhythm, basic dance steos and appreciation of the culture’s rich cultural heritage
which strengthens the awareness in dance education as a gobal perspective in the 21 st century.
Students will be given rhythmic activities and experience to develop their skills and creative thinking in
dancing
III. Course Study Guide:

This module was prepared for you, my dear student, to work on your own. To have the best in
working with this module, you are reminded to follow these simple yet effective guidelines:
1. Manage your time well. A course study schedule is prepared for you to help you study the
modules in this course. The productive use of your time and energy will help you a lot in
finishing the scheduled activities.
2. Focus your attention. The key element for better understanding is having the focus on the
things to be done.
3. Give your best. Always remember that success will be attained in everything you do by giving
extra effort in the things you are doing. Giving your best also means observing Honesty in
doing the assigned tasks you are asked to do in this module. Never let someone do the task for
you or copy the work of your classmates.
4. Submit on time. Work diligently. Do not procrastinate. Remember time is gold. Work
immediately on the task at hand in order for you to follow scheduled time for submission.
5. Be patient, motivate yourself. Patience equates success. Always think of the bright future
ahead. And to get there, start moving now.
6. Answer confidently. Study hard, surf the internet, read and read and read more. The more you
know, the more confident you become.
7. Work independently. You can do it! Your future lies in your own hands and your own decisions.
So, practice working independently, trust yourself, and be independent.
8. Contact me. If you have any questions, don’t hesitate to ask me through my Facebook account:
Pablo, Joan), Gmail:joowanatics@gmail.com or the Group Chat created for this class.
Course Code: PE 103

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IV. Course Study Schedule:
WEEK TOPIC LEARNING SPECIAL INSTRUCTION
ACTIVITIES
WEEK 1 & 2 I. Rythmic Activities Arrow it out!
(Strictly follow the instructions)
II. Phases of dance Program Multiple Choices
Enumeration
WEEK 3 & 4 III. Dance Formation Performance
IV. Fundamental dance Assessment
Position
WEEK 5 & 6 V. Basic Movements Skills Multiple Choices
VI. Folk dance Enumeration
WEEK 7 & 8 VII. Terms Performance
VIII. Selected dance Assessment (Strictly follow the instructions)
Interpretation Multiple Choices
V. COURSE EVALUATION:
To pass the course, you must:
1. Submit all course requirements to include the following:
a. Activity Sheets/ Yellow Papers with answers of the in-text questions given
in the four modules;
b. Assignment Outputs
c. Evaluation Activities (checklist or self-test)
d. Compilation of Answers to the Study Guide for the four modules.
2. Pass all examinations:
a. Midterm examination
b. Final examination
DANCES
What is the module all about?
Course Code: PE 103 Dancing is an act of moving the body in rhythm,usually in time with
Descriptive Title: DANCES music. People seem to have a natural urge to express their feelings through
rhythmic movement. People oragnize the expressive movements of their
bodies into rhythmic and visual patterns.

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Dancing is both an art and a form of recreation. As n art, a dance may tell a story, set a mood or
express an emotion. As a form of recreation, dancing has long provoded fun, relaxation and companionship.
Today, dancing either at a party or gathering continues to be a very popular way for people to enjoy themselves
and to make new friends.
This module will therefore be especially useful to physical education students for them to know and
learn about dance terms, dance steps, note patterns, music and tempo patterns and suggestions for making
example of dance-step combinations.
Learning Competency:
 Define rhythm and dances

 Distinguish different elements and movement qaulities
 Develop skills in creating dances
 discuss the phases of dance program
 express oneself using action and movements
 identify an action using movements
 introduce folk dancing and folk dance in the Philippines
 identify classification of folk dancing
 perform the basic dance positions
Topics to be studied in this module:
 I. Rythmic activities
 II. Dance Formation
 III. Fundamental dance position
 IV. Basic Movement Skills
 V. Folk Dance
Intended Learning Outcome:
 Apply basic anatomical relationships to the felt sense of the body, including the expressiveness inherent
in movement.
 Examine the role of dance and ritual in the lives of individuals and communities, including one’s own
 Gain insights into dance as representative of cultural contexts and values.
 Gain proficiency in skills specific to the practice or dance style and be familiar with the history and
cultural significance of the practice or dance style.
PHYSICAL EDUCATION LEGAL BASIS
REPUBLIC ACT NO. 5708

REPUBLIC
Course Code: PE 103 ACT NO. 5708 - AN ACT PROVIDING FOR THE PROMOTION AND
DescriptiveFINANCING
Title: DANCESOF AN INTEGRATED PHYSICAL EDUCATION AND SPORTS
DEVELOPMENT PROGRAM FOR THE SCHOOLS IN THE PHILIPPINES

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Section 1. This Act shall be known as "The Schools Physical Education and
Sports Development Act of 1969."
Sec. 2. An integrated physical education and sports development program

in all schools in the Philippines shall be undertaken by the Department of
Education in accordance with the following guiding principles:
(1) The goal of physical education is to instill in young citizens a proper

appreciation of the importance of physical development hand in hand with the
mental development in individual and social activities;
(2) The sports and other activities in a physical education program should
provide opportunities for the athletic development of children and youth who
have the competitive spirit as well as grace, coordination, stamina and
strength;
(3) A well-rounded physical education program must be addressed to

physical growth, social training, and personal, discipline for all pupils and
students, as well as superior athletic achievement for those who are
psychologically inclined and physically gifted; and
(4) An integrated program for sports development in the schools requires

effective organizational planning and administration with provisions for
adequate training facilities and sustained stable financing.
INTRODUCTION TO DANCES
Course Code: PE 103 At the end of the lesson, the student should be able to:
 to define rhythm and dances, distinguish different elements and
movement qualities in dancing that can be used in composing
in a specified time
 to develop skills in creating dancses that will ne useful in their
future endeavors
 to demonstrate the hands
Instructorr: and
Joan feet position that can be utilized
Marzo-Pablo
in formulationg dances at a given specific time.

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Every individual has rhythm. It is found in all of

nature and is natural to every individual. Rhythm is most clearly seen through dance- the art
of movement
What is rhythm? ---- It is the regular recurrence of accented and unaccented beats.
Rhythms--------------- Is a term which denotes an aspect of a quality of movement
that is sometimes thought of as dance. When an individual moves in response to a particular
rhythm or music we call the movements as rhythmic movements or rhythms. Structured
forms which start creative rhythmic movements are called rhythms.
Rhythmic activities---- are the physical manifestations of the mental and emotional
response of the individual to rhythm. They are activities which a child responds to physically,
socially, and mentally to regular patterns of sound.
They are also a source of enjoyment for people of all ages. Through these
activities, skills and the sense of rhythm are acquired and developed, feelings are expressed,
basic principles of time, space and force can be experienced.
Everyone reacts to music or rhythm in one form or another. A head swaying, a foot
tapping, fingers snapping, shoulders and body moving while a musical piece is played are
physical reactions.
Dance ---------- refers to movement set to music where there emerges organization,
structure and pattern. It is a composition that implies arrangement of parts into a form.
Dancing ------- is a means of expressing one’s emotions through movement
disciplined by rhythm. It is an act of moving rhythmically and expressively to an
accompaniment. The word dancing came from an old German word “danson” which means
to “stretch”. Essentially, all dancing is made up of stretching and relaxing.
Rhythmic fundamentals
In the field of dance, there are certain fundamental knowledge and rhythmic skills
considered important for proficiency and efficiency in bodily movements
Course Code:Elements
PE 103 of Rhythm:
1. Beat—the underlying pulse of a rhythm.
2. Tempo—rate of speed of a movement.
3. Intensity—variation of stress of movement.

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4. Pitch—lowness or highness of a tone.
5. Accent—emphasis on certain beats.
6. Meter—the regular recurrence of beats which divides a musical design into
measure.
7. Phrase—measures grouped together.
8. Bar—in music a vertical line across a staff dividing it into equal measures of time.
9. Count—a pulse beat, a time limit.
10. Note—a printed symbol of a musical tone.
11. Measure—a group of pulse beats.
12. Note pattern—refers to a note or set of notes with or without rest used for a certain
dance step.
13. Step pattern—refers to the movement or movements done for each of the dance
steps.
Elements of movement Space:

1. Direction—is the line of movement taken which maybe forward, backward,
sideward, diagonal, upward, or a combination of those mentioned.
2. Level—is movement through space that maybe done at a high, low, or medium
level.
3. Range—refers to the area covered as the body moves. It maybe small as when the
movement is done in one’s place; or large when movement covers a wide area as
when getting away from one’s place.
4. Floor Pattern—the path or design that is made while moving in space is what is
termed as floor pattern. It may take a form of a circle, square, straight line or
zigzag.
Movement Qualities:
Movement expression is attained through the elements of time, force and space
Time qualities:
1. Movements which is fast
Examples: galloping horse, Jet plane
2. Movement which is slow
Examples: turtle, Flower growing
Force Qualities:
1. Soft light movement
Course Code: PE 103 Examples: Fairies, Birds and butterflies
2. Strong, heavy movement
Examples: Elephant, Bulldozer
3. Strong, jerky movement

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Examples: Frog, A jumping jack
4. Smooth, sustained movement
Examples: Airplane, Fish swimming
Space Qualities:
1. Movement up and down
Examples: Bouncing ball, Yo-yo
2. Movement across, back and forth or around
Examples: Rowing boat, A merry-go-round
3. Movement which is low
Examples: Ants, Turtles
4. Movement which is high
Examples: Kites, Clouds
PHASES OF THE DANCE PROGRAM

1. Creative Rhythms
Are sometimes called fundamental rhythms or natural dances. A creative rhythm
is an end product of exploration and improvisation of movements as children learn
to move the parts of their body and to use them as instruments of expression.
2. Folk/ Ethnic dance
Is a cultural art form handed down from generation to generations. It
communicates the customs, beliefs, rituals, and occupations of the people of a
region or country. Folk dancing belongs to the people. It emanates from them.
Ethnic tribes have their specific tribal art forms originated and danced by the
people of the tribe.
Examples of folk dances are the rural and country dances, jotas, mazurkas,
pandanggos, among others with foreign influence.
Examples of ethnic dances are the dances of the mountain peoples of the
Cordilleras, dances of the ethnic groups in the Cagayan Valley Region and the
ethnic dances in the Mindanao Regions.
3. Social and Ballroom Dance

The setting of the social and ballroom dance is a social gathering with the more
formal atmosphere than the simple and informal parties in which the recreational
Course Code: PE 103
Descriptive Title:dances
DANCESare the usual forms. Social and ballroom dancing are generally held in the
evenings. The participants are usually in formal attire.
4. Recreational Dance

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Includes dance mixers, square dance round and couple dances. Many of these
dances have simple patterns and combinations of walking steps, polka step and the
waltz step. The setting is usually informal gatherings and parties, reunions etc.
5. Creative Dance
Is the highest form of dance. It is the end-product of exploration and
improvisation of movements as the dancer or the choreographer expresses his
feelings or emotions, ideas, and interpretations. This is a dance with a definite
form, a beginning and an ending. The principles of art form are all observed in the
composition of the dance.
Examples of creative dance are ballet, jazz,and modern or contemporary dance.
FORMATIONS commonly used in RHYTHMIC ACTIVITIES:
1. Single circle, facing clockwise

2. Single circle partners facing
3. Single circle, facing counterclockwise
4. Single circle, facing center
5. Double circle, partners facing
6. Double circle, facing clockwise
7. Double circle, couples facing
8. Square or quadrille formation
9. Semi-circle or half moon
10. Double lines, facing front
11. Double lines, partners facing
12. Long open formation
OBJECTIVE OF RHYTHMIC ACTIVITIES

1. Develop skills necessary for recreational enjoyment.
2. Maintain good posture and physical efficiency.
3. Promote emotional freedom.
4. Develop a balanced and well-coordinated body
Course Code: PE 103


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Name:
Course/Yr.Sec.
Intended Learing Activities/Assessment

ACTIVITY #1: Explain the statement based from your understanding. Minimum of 5
sentences is required per question. ( 5 Points each).
1. What do you think could be the importance of dancing to people?
2. Why is it necessary to considerthe elements of rhythm in bodily movements?
3. In PE
Course Code: your
103own opinion, expalin each of the phases of the dance program.

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ACTIVITY #2: Illustrate the 12 formations commonly used in rythmic activities with 8 pairs
in a group.
LESSON 2
FUNDAMENTAL DANCE POSITIONS
At the end of the lesson, the student should be able to:

 demonstrate the hands and feet position that can be utilized
in formulationg dances at a given specific time.
 Analyzed the different locomotor and axial movements
 Executed the different locomotor and axial movement with
precision and creativity.
There are five fundamental or basic positions in dance that are commonly termed as
1 position, 2nd position, 3rd position, 4th position, and 5th position of the feet and arms.
st
1st position Feet: Heels close together, toes apart with an angle of about 45 degrees.
Arms: Both arms raised in a circle in front of chest
Course Code: PE 103


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2nd position Feet: Feet apart sideward of about a pace distance.

Arms: Both raised sideward with a graceful curve at shoulder level.
3rd position Feet: Heel of one foot close to in-step of other foot.
Arms: One arm raised in front as in 2nd position; other arm raised
upward.
4th position Feet: One foot in front of other foot of a pace distance.
Arms: One arm raised in front as in 1st position; other arm raised
Course Code: PE 103
overhead.

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5th position
Feet: Heel of front foot close to big toe of rear foot.
Arms: Both arms raised overhead.
The Basic Natural Movements:
1. Locomotor movements
Are those that move the body in space in any direction with the feet as the
moving base.
Examples: walking, running, jumping, hopping, skipping, leaping, galloping and
sliding
2. Non-locomotor
Are those in which various parts of the body move in space with a fixed base.
The base may be standing, kneeling, sitting or lying.
Non-locomotor movements:
1. Flexion--- Bending or shortening of a body part occurring at a joint.
2. Extension—Turning, twisting or circling
Course Code: PE 103 3. Pendular---- Swinging/ swaying arms forward, backward or sideward.
4. Percussive—Striking and hitting: pushing and pulling.
5. Vibratory----- Shaking and beating.
6. Sustained---- A slow, smooth flowing movement with a balance of
movement throughout the entire series.

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7. Suspended--- A sharp movement followed by a series of slow or
prolonged movements until a peak is reached.
Values of dancing
1. Physical fitness
2. Cultural
3. Social
4. Recreational
NAME:
COURSE/YR.SEC

What do you think could be the importance of learning the hands and feet
position in a dance?
ACTIVITY #5:
Course Code: Take

PE 103a picture of yourself showing the Fundamental Arm and Feet Positions in
Descriptive
dancing. Title: DANCES

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ACTIVITY #6: PERFORMANCE TASK.
(Video Presentation) Create a 1 minute simple dance routine using the basic natural
movement.
CRITERIA:
Proper Execution - 50 %
Combination of Movements - 30 %
Transition of Movements - 20 %
Total - 100 %
NOTE: Send the video of your activity to the

group page of class. Please be advised that Private
Message is not required and will not be recorded.
LESSON 3
FOLK DANCES
At the end of the lesson, the student should be able to:

 arouse better appreciation of Philippine music and
folk dances
 develop a graceful and rhythmic coordination of
body movements that will improve posture.
 Develop grafecul d rhythmic coordination of body
movements that will improve posture.
 provide through dancing, a healthful form of
relaxation and recreation.
 foster patriotism and nationalism through the study
of our dance.
Course Code: PE 103

INTRODUCTION TO PHILIPPINE FOLK DANCE

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Folk dance 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. Folk dancing originated in the 18th
century to distinguish dance forms of common people from those of the upper classes. It is
traditional dances of a country which were evolved naturally and spontaneously in
connection with everyday activities and experiences of the people who developed them.
Folk dances, unlike most other dance forms, tend to have no stringent rules, and are
sometimes formed spontaneously among groups of people. The steps of folk dances are
passed through generations, rarely being changed.
Philippine Folk Dance is a cultural art form handed down from generation to
generations. It communicates the customs, beliefs, rituals, and occupations of the people of
a region or country. Folk dancing is usually associated with social activities, although some
folk dances are performed competitively. Folk dancing belongs to the people. It emanates
from them. Folk dancing is the heartbeat of the people.
HISTORY
Filipino folk dance history is not the history of a single national dance of one or two
regions. Dances evolved from different regions which are distinct from one another as they
are affected by the religion and culture.
Many people especially Filipinos are fond of dances. Our country is very rich in
different native dances like Cariñosa, Tinikling, La Jota Banal, La Jota Caviteño, etc. Many
of us find it hard to enjoy and get information about dance at the same time. This proposed
system would make it possible for us to enjoy and learn different native dances here in the
Philippines by means of computerizing it.
Folk Dance, recreational or ceremonial dance performed usually by members of the
community to which the dance is traditional. Varying criteria have been used to differentiate
folk dance from other kinds of dance: For example, the dancers are said to belong to a
certain economic level or come from certain locales; the steps are simple and repeated, so
that any member of the community can participate; the dances require no audience; and
they are passed down through many generations. Each of these criteria can be contradicted
by dances that are indisputably folk dances, and in each of these criteria, folk dance
overlaps with other kinds of dance.
During the last few centuries many trends have affected folk dancing. As the spread
of industrialization brought rural people into the growing cities, dances related to agricultural
activities or to communal rituals gradually lost their meaning. In the changing circumstances
of urban life, new dances evolved. Colonization also affected dances-frequently, indigenous
forms fused with dances of the colonial powers. In the Philippines, for example, new dances
developed when Spanish influenced dancers of traditional native forms and Islamic dance
forms and styles.
Course Code: PE 103
Types of Folk dances:
1. National – traditional dances of a given country.

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2. Regional – local.
3. Character – created by individual or group.
Characteristics of Philippine Folk dances:
1. In general, dancers stand apart.

2. There is little, if any, bodily contact.
3. Most of the dances are done by pairs or couples.
4. Hand movements play an important part.
5. Most dances are in long formation.
6. Most dances begin and end with “saludo.”
7. Dances from the lowlands have more foreign elements those found in the uplands.
8. War dances are found among non-Christian tribes.
Classification of Philippine Dances
CLASSIFICATION OF PHILIPPINE FOLK DANCES
 Muslim Dances
 Igorot Dances
 Tribal Dances
 Maria Clara dances
 Rural Dances
Igorot Dances
Long before the Spaniards, the indigenous people in the mountainous regions had
already their folk dances which reflect their worship, their celebrations, their wars and even
their everyday lives. Scholars refer to them as mountain dances which consisted of different
mountain tribes. When Spaniars came, they called them Igorots.
They dance to appease their ancestors and gods to cure ailments, to insure
successful war-mating activities, or to ward off bad luck or natural calamities. They dance to
congregate and socialize, for general welfare and recreation, and as an outlet for repressed
feeling. They also dance to insure bountiful harvests, favorable weather, and to mark
milestones in the cycle of life.
So the dances evolve as they need them to express their feelings, their sadness and
their anger.
Muslim/Moro Dances
Mindanao and Sulu were never conquered by Spain. Islam was introduced in the
Philippines in the 12th century before the discovery of the islands by Magellan in 1521.
The dances of Muslim however predated the Muslim influence. Like Ipat which was a
dance to appease ancestral spirits. Before Islam, the Maguindanaons held the view that
diseases are caused by tonong (ancestral spirits).Thus, a folk healer performs the pag-ipat
Course Code: PE 103
while being possessed by the tinunungan (spirit).
Another is the dance baluang which creates the illusion of an angry monkey, and is
always performed by male dancers. The popularity of this dance comes naturally, since the
baluang, or monkey, enjoys an affectionate place in Asian folklore.

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Singkil was introduced after the 14th century. It was based on the epic legend of
Darangan of the Maranao people of Mindanao. It tells of the story of a Muslim Princess,
Gandingan who was caught in the middle of a forest during an earthquake caused by the
diwatas, or fairies of the forest.
Tribal Dances
The cultural minorities that live in the hills and mountains throughout the Philippine
Archipelago considered dances as basic part of their lives. Their Culture and animistic
beliefs predated Christianity and Islam. Dances are performed essentially for the gods. As in
most ancient cultures, unlike the Muslim tribes in their midst, their dances are nonetheless
closely intertwined with ceremonials, rituals and sacrifices.
The only dance that is believed to have evolved during the Spanish colonization is
the Talaingod dance which is performed to the beat of four drums by a female, portrays a
virgin-mother bathing and cradling her newborn baby, named Liboangan. She supposedly
had a dream, or pandamggo, that she was to bear such a child. This concept of a virgin-birth
may have been derived from the Catholic faith
Maria Clara Dances
The history of the Philippines is that of a country constantly melding its culture with
that of outsiders, a narrative that is exemplified well by Filipino folk dance history. For
example, the 300-year Spanish occupation of the Philippines profoundly influenced folk
dancing. The ‘Maria Clara’ style of dance is named after a Spanish-style dress, and its
performance includes Spanish footwork with Filipino modifications such as bamboo
castanets and Asian fans. Contact with ancient Indian civilization is also evident through
Indian-influenced dance, which thrives particularly in the South. Numerous other influences
including Muslim and Indonesian can be found throughout the Philippines.
The coming of the Spaniards in the 16th century brought a new influence in
Philippine life. A majority of the Filipinos were converted to Roman Catholicism. European
cultural ideas spread and the Filipinos adapted and blended to meet the local conditions.
These dances reached their zenith in popularity around the turn of the century, particularly
among urban Filipinos. They are so named in honor of the legendary Maria Clara, who
remains a symbol of the virtues and nobility of the Filipina woman. Maria Clara was the chief
female character of Jose Rizal's Noli Me Tangere. Displaying a very strong Spanish
influence, these dances were, nonetheless, "Filipinized" as evidence of the use of bamboo
castanets and the abanico, or Asian fan. Typical attire for these dances are the formal Maria
Clara dress and barong tagalog, an embroidered long-sleeve shirt made of pineapple fiber.
Rural and Barrio
Perhaps the best known and closest to the Filipino heart are the dances from the
rural Christian lowlands: a country blessed with so much beauty. To the Filipinos, these
dances illustrate the fiesta spirit and demonstrate a love of life. They express a joy in work, a
love for music, and pleasure in the simplicities of life. Typical attire in the Rural Suite include
the colorful balintawak and patadyong skirts for the women, and camisa de chino and
colored trousers for the men. The dances developed during the three hundred years of
Spanish
Course Code: colonization.
PE 103
A good example of rural or barrio dances is Sinulog. It is a ceremonial dance
performed by the people of San Joaquin, Iloilo, during the feast of San Martin. It originated in
a barrio of San Joaquin called Sinugbahan. It was believed that the image of San Martin was

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found at the edge of a beach, and that it could not be removed until the people dance the
Sinulog.
Maria Clara Dances
The coming of the Spaniards in the 16th century brought a new influence in
Philippine life. A majority of the Filipinos were converted to Roman Catholicism. European
cultural ideas spread and the Filipinos adapted and blended to meet the local conditions.
These dances reached their zenith in popularity around the turn of the century, particularly
among urban Filipinos. They are so named in honor of the legendary Maria Clara, who
remains a symbol of the virtues and nobility of the Filipina woman. Maria Clara was the chief
female character of Jose Rizal's Noli Me Tangere. Displaying a very strong Spanish
influence, these dances were, nonetheless, "Filipinized" as evidence of the use of bamboo
castanets and the abanico, or Asian fan. Typical attire for these dances are the formal Maria
Clara dress and barong tagalog, an embroidered long-sleeve shirt made of pineapple fiber.
I. General Classification
A. Geographical extent of origin

1. National dances-found throughout the islands with little or no
modification.
Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo.
2. Local dances-found in a certain locality.

Examples: Tinikling-Leyte,Maglalatik-Binyan Esperanza-Nabua Subli-Batangas,
Biniganbigat-Abra
Nature
1. Occupational-depicting action of certain occupation, industry, or human labor.
Examples: Planting, Harvesting, Pounding, Winnowing, Pabirik,
Mananguete, etc.
2. Religious or Ceremonial – performed in connection with religious vows and
ceremonies. Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino,
etc.
3. Comic dances – depicting funny movements for entertainment. Examples:

Kimbo – kimbo Makonggo, Kinoton
4. Game dances – with play elements (dance mixers) Examples: Lubi – lubi,
Pavo
5. Wedding dances – performed during wedding feast. e.g. Panasahan, etc.
6. Courtship dances – depicting love making. Examples: Hele – hele, Bago Quiere
Maramion Tadek ,Daling – daling
Course Code: PE 1037. Festival dances – suitable for special occasion or any social gathering.
Examples:
Descriptive Title:Pandanggo,
DANCES Habanera, Jota, Surtido.
8. War dances: showing imaginary combat or duel. Examples: Sagayan, Palu-
palo, etc.

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C. Movements
1. Active – with fast energetic movements. Examples: Tinikling, Maglalatik
Sakuting, Polkabal, etc.
2. Moderate - Examples: Cariñosa, Tagala Habanera, Purpuri, etc.
3. Slow - Examples: Pasakat, Amorosa Tiliday, Kundiman, etc.
4. Slow and Fast – Examples: Putritos, Ba-Ingles Habanera Botoleña
Alcamfor, etc.
D. Formation
1. Square or Quadrille Examples: Rigodon, Los Bailes de Ayer, etc.
2. Long formation (two or more parallel lines Examples: Lulay, Sakuting
3. Set – consisting of two or more pairs as a unit, partners facing each other or
standing side by side. Examples: Binadyong, Haplik, Kakawati, etc.
II. Special Classification-Group dances having special distinctive features.

A. Dances with Songs
Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan, etc.
B. Old Ballroom Dances Examples: Polka, Mazurka Chotis, Valse, etc.
C. Dances with Implements Examples: Maglalatik Sakuting Jota Moncadena
Tinikling Salakot,
D. Dances of Combined Rhythm Examples: Surtido, Pantomina, Los Bailes de
Ayer
Factors Affecting Folk Dances

1. Geographical location
2. Economic conditions
3. Climatic conditions
4. Customs and traditions.
Do’s in Folk Dancing

1. Dance in a natural, simple and direct manner.
2. Dance with ease and smoothness.
3. Use the proper costume for the dance.
4. Follow directions and dance instructions as closely as possible.
5. Dance with feeling and expression.
Don’t’s in Folk Dancing

1. Do not exaggerate the dance steps.
Course Code: PE 103 2. Do
not make the dances too dainty and graceful like ballet.
3. Don’t make entrance and exit long.
4. Don’t make steps too elaborate and complicated.
5. Don’t call a dance a folk dance unless steps come from traditional dances.

ILOCOS SUR
POLYTECHNIC STATE
Tagudin Campus
COLLEGE
MODULE
COMMON DANCE TERMS
1. Arms in lateral position – Both arms are at one side either right or left, at
shoulder, chest or waist level.
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. Crossed Arms – Partners facing each other or standing side by side join their left
hands together and the right hands together; either right over left or left over right
hands.
4. Cut – To displace quickly one foot with the other.
5. Do-si-do – Partners advance forward, pass each other’s right ( left ) side, step
across to the right move backwards without turning around, pass each other left
side to proper places.
6. Hayon-hayon – To place one forearm in front and the other at he back of the
waist.
7. Hop – A spring from one foot landing on the same foot in place or in any
direction.
8. Jaleo – Partners turn around clockwise ( with right elbows almost touching ) or
counterclockwise ( with left elbows almost touching ) using walking or any kind of
dance step.
9. Jump – A spring on one foot or both feet landing on both feet in any direction.
10. Kumintang – moving the hand from the wrist either in a clockwise or
counterclockwise direction.
11. Leap – A spring from one foot landing on the other foot in any direction.
12. Place – To put foot in a certain position without putting weight on it.
13. Pivot – To turn with the ball, heel or whole foot on a fixed place or point.
14. Point – Touch the floor lightly with the toes of one foot, weight of the body on the
other foot.
15. Masiwak – To turn the hand from the wrist half-way clockwise then raise and
lower wrist once or twice. This is an Ibanag term.
16. Panadyak – To stamp in front or at the side with the right foot and tap with same
foot close to the left foot. This is a Tagalog term.
17. Patay – To bend the head downward and to support the forehead with the R
forearm or with the crook of the R elbow while the left hand supports lightly the
palm of the right hand. This is usually done with the left foot pointing in rear and
knees slightly bent. This is an Ilocano term and the movement is commonly
found in Ilocano dances.
18. Salok – T o swing the arm downward-upward passing in front of the body as
if scooping, the trunk is bent following the movement of the arm doing the salok.
This is a Tagalog term.
19. Saludo – Partners bow to each other, to the audience, opposite dancers, or to the
neighbors with feet together. This is of Spanish origin and is used in almost all
Course Code: PE 103
Philippine dances.
20. Sarok – Cross the R foot in front of the L , bend the body slightly forward and
cross the hands down in front of the R hand over the L. This is a Visayan term.

ILOCOS SUR
POLYTECHNIC STATE
Tagudin Campus
COLLEGE
MODULE
21. Slide – To glide foot smoothly along the floor. The movement may be finished
with or without transfer of weight.
22. Stamp – To bring the foot forcibly and noisily on the floor with or without transfer
of weight.
23. Tap – To rap slightly with the ball or toe of the free foot, flexing the ankle joint
keeping weight of the body on the other foot. There is no change or transfer of
weight.
24. Whirl – To make fast turns by executing small steps in place to right or left.
NAME:
COURSE/YR.SEC

1. How do you value folk dancing? How does this lesson helped you appreciate folkdancing
2. How do people see Folk dancing nowadays? What can you do to help preserve these dances,
as a student? As a Filipino Citizen?
ACTIVITY #8: VIDEO PRESENTION:

Choose atleast 5 dance terms used in Philippine folk dance and demonstrate.
ACTIVITY #9: SELECTED DANCE INTERPRETATION
Choose among the Traditional and folk dances and interprete the dance
(1:30-2 minutes).2 pairs is allowed.
CRITERIA:
Course Code: PE 103 Interpretation - 40 %
Style & Form - 20 %
Teamwork - 20 %

ILOCOS SUR
POLYTECHNIC STATE
Tagudin Campus
COLLEGE
MODULE
Timing/Spontaneity - 10 %
Costume - 10 %
TOTAL - 100 %
NOTE: Send the video of your activity to the group page

of class. Please be advised that Private Message is not
required and will not be recorded.
Dance has been used for many purposes throughout the

ages and in different cultures. Dance has been a part of a ritual and religious occassios and is a vital
part of self-expression. Dancing is a great outlet for conveying feelings or emotions.
Through dance, people can identify and express their innermost emotions and bring those
feelings to the surface. In doing so, this can bring about a sense of renewal, feelings of unity and
completenes.
Philippine folk dances are a celebration of daily life, health, peace, war, harvest times and other
aspects of life. According to the National Commission for Culture and the Arts, Philippine folk dances
imitate nature and life because they are rituals for social and spiritual expression.
Thus, dancing can be a tool in improving not only our physical health but also in improving
emotional, mental, psychological and religious life of a person. Learning about dance is not only
learning how to move but learning how to express what cannot be spoken.
Dance Books Vol. 1-10 New Edition

Sayaw Books- Philippine Folkdance Society
Physical Education 2 for College- Tulio, Doris
Course Code: PE 103
Dance Education
Descriptive in the School Curriculum, Rex Book Sote Inc. 2004- Andin, Carmen T.
Title: DANCES
Fundamental dance Steps, 1986- Aquino, Francisca
Online Resources:

ILOCOS SUR
POLYTECHNIC STATE
Tagudin Campus
COLLEGE
MODULE
huupe.weebly.com>pe2 8/20 2:01pm
http.//en.Wikipedia.org
http.wwwbritania.com./eb/Frederick-Hawkins
www.dances.com
www.social.dances
https://www.slideshare.net/MarvinBronoso1/physical-education-12-nature-of-dance
http://www.dancefacts.net/
http://www.dancefacts.net/dance-types/types-of-dances/
https://www.heritageinstitute.com/danceinfo/descriptions/social.htm
http://hnupe.weebly.com/pe-2.html
https://www.slideshare.net/MaykYam1/pe10-lm-u3
https://grade8.modyul.online/physical-education-quarter-4-module-4a-folk-dances/
Suggested Readings:
Alave, Jun C. Physical Education and Health Book 1, JPS Publication 2016
Gabao, Larry A. PNC, Physical Education2 Handout, 1997
Tolentino, Francisca R.Philippine National Dances, Kayumangi Press Inc. 1993
Andin, Carmen T. Handbook on Rhythmic Activities,1987
TAKE NOTE! IMPORTANT!
Please submit your outputs the earliest possible time (as long as you are
done). Avoid submitting very late. Thank you very much.
 Congratulations for completing Workbook for the midterm. Please

proceed to Workbook for final term. For you to understand learning
outcomes and target setting.
Course Code: PE 103



Pe 103-Dances: Joan M. Pablo

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ILOCOS SUR

Instructorr: Joan Marzo-Pablo

III. Course Study Guide:

Instructorr: Joan Marzo-Pablo

To pass the course, you must:

1. Submit all course requirements to include the following:

2. Pass all examinations:

Instructorr: Joan Marzo-Pablo

 Define rhythm and dances

Topics to be studied in this module:

Intended Learning Outcome:

PHYSICAL EDUCATION LEGAL BASIS

REPUBLIC ACT NO. 5708

DEVELOPMENT PROGRAM FOR THE SCHOOLS IN THE PHILIPPINES

Instructorr: Joan Marzo-Pablo

Sec. 2. An integrated physical education and sports development program

(1) The goal of physical education is to instill in young citizens a proper

(3) A well-rounded physical education program must be addressed to

(4) An integrated program for sports development in the schools requires

Every individual has rhythm. It is found in all of

Instructorr: Joan Marzo-Pablo

Elements of movement Space:

Instructorr: Joan Marzo-Pablo

PHASES OF THE DANCE PROGRAM

3. Social and Ballroom Dance

Instructorr: Joan Marzo-Pablo

FORMATIONS commonly used in RHYTHMIC ACTIVITIES:

1. Single circle, facing clockwise

OBJECTIVE OF RHYTHMIC ACTIVITIES

Course Code: PE 103

Instructorr: Joan Marzo-Pablo

Intended Learing Activities/Assessment

1. What do you think could be the importance of dancing to people?

2. Why is it necessary to considerthe elements of rhythm in bodily movements?

Instructorr: Joan Marzo-Pablo

FUNDAMENTAL DANCE POSITIONS

At the end of the lesson, the student should be able to:

Course Code: PE 103

Instructorr: Joan Marzo-Pablo

2nd position Feet: Feet apart sideward of about a pace distance.

Instructorr: Joan Marzo-Pablo

The Basic Natural Movements:

Instructorr: Joan Marzo-Pablo

Intended Learing Activities/Assessment

Course Code: Take

Instructorr: Joan Marzo-Pablo

NOTE: Send the video of your activity to the

At the end of the lesson, the student should be able to:

Course Code: PE 103

INTRODUCTION TO PHILIPPINE FOLK DANCE

Instructorr: Joan Marzo-Pablo

Instructorr: Joan Marzo-Pablo

Characteristics of Philippine Folk dances:

1. In general, dancers stand apart.

Classification of Philippine Dances

CLASSIFICATION OF PHILIPPINE FOLK DANCES

Instructorr: Joan Marzo-Pablo

Instructorr: Joan Marzo-Pablo

A. Geographical extent of origin