Unit I: Regional and National

Dances with Asian Influence

1
Introduction…………………………………………………….. 3
Objectives…………………………………………………….… 4
Learning Goals and targets……………………………….... 8
Pre-assessment………………………………………………… 5
Content Proper
a. What to Know……………………………………….... 17
b. What to Process………………………………………. 36
c. What to Reflect and Understand…………………. 37
d. What to Transfer…………………………………….... 39
Summative Assessment…………………………………….... 42
Summary………………………………………………………... 45
Glossary…………………………………………………………. 46
Reference………………………………………………………. 47

2
 Kumusta! Naimbag nga aldaw! Maayong buntag!
Como esta usted! Hello Grade 8 learners! How’s your day? I
hope that you are a strong, energetic, athletic and
competitive as ever because, for all you know, you will be
needing all your strengths for the activities found in this unit.
When you were in Grade 7, you learned to perform
examples of local and indigenous dances. You also learned to
value them in terms of maintaining good health and eventually
realized that folk dancing is indeed a good recreational
activity.
Dancing is also a physical activity that can promotes
lifelong and wellness. It is a good source of exercise that could
help develop grace and poise. It can even help in maintaining
good health as it highlights health- related fitness components
such as cardio-vascular endurance, flexibility, and strength.
When the effect of acculturation, indigenous dances of
the Philippines may have been modified because of cultural
influence of other countries. This is evident in the western style
adopted in our folk dances. Along with this are the influences
of our Asian neighbors that have enriched our national dances
to a large extent. It is for this reason why there is a need for you
to understand our cultural root by learning our dances.
This unit will introduce you to the different regional and
national folk dances of the Philippines with the influence of
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 0n 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.

3
At the end of this unit, you should be able to:
 discuss the origin and location of folk dance
through its costumes and music;
 execute selected regional and national dances
with Asian influences such as the Binislakan,
Sakuting, Sua-Ku-Sua, and Pangalay;
 demonstrate the dance sequence appropriately;
 identify the meaning of the gestures and hand
movement of the dance selected;
 approximate interpretation of the dance
literature; and
 promote folk dancing as a physical actively for
the family.

4
A.Instruction: Look into the pictures below and answer the
accompanying questions.

A B

C D

1. What general concept can be derived from the given

pictures?
_______________________________________________________
_______________________________________________________
2. Where do you think are the origin of these dances?
_______________________________________________________
_______________________________________________________
3. Can you associate the pictures above to other countries
from Asia?
_______________________________________________________
_______________________________________________________
4. Focusing on the costumes, props, gestures and facial
expressions, what scenarios can you create for each
picture?
A._____________________________________________________
B._____________________________________________________
C._____________________________________________________
D._____________________________________________________

5
 5. What is the importance of costumes, props, gestures and
facial expressions in folk dancing?
_______________________________________________________
_______________________________________________________
_______________________________________________________

B. Instruction: Choose the best answer. Write the letter of the

correct answer on the space provided.
__________1. Which of these is NOT true?
a. You can tell the origin of the dance by its
costumes derived from the tribe or group it
belongs.
b. Folk dances speak of the heartbeat of
people.
c. Folk dances tell about the people’s
superstitions, customs, ideas, beliefs and
events of daily living.
d. Folk dances are similar to the steps of hip-
hop dance.
__________2. The following are Asian countries that are kind of
music influenced the Philippine folk dances EXCEPT one.
a. China
b. Malaysia
c. Spain
d. Indonesia
__________3. Who is the dance researcher for “BINISLAKAN”?
a. Francisca Reyes-Aquino
b. John D. Legaspi
c. Ligaya Amilbangsa
d. Ramon A. Obusan
__________4. A folk-dance song that means “My Pomelo Tree”.
a. Binislakan
b. Pangalay
c. Sakuting
d. Sua-Ku-Sua

6
__________5. This folk dance mainly performed mainly during
weddings and other festive events.
a. Binislakan
b. Pangalay
c. Sakuting
d. Sua-Ku-Sua
__________6. This dance refers to “Fingernails”.
a. Binislakan
b. Pangalay
c. Sakuting
d. Sua-Ku-Sua
__________7. This dance’s place of origin is in Lingayen,
Pangasinan.
a. Binislakan
b. Pangalay
c. Sakuting
d. Sua-Ku-Sua
__________8. It is a dance of the ethnic people living in the
western side of the Cordillera way back before the Americans
arrived to the country.
a. Binislakan
b. Pangalay
c. Sakuting
d. Sua-Ku-Sua
__________9. What is the dance classification of Sua-Ku-Sua?
a. Courtship dance
b. War dance
c. Occupational dance
d. Religious dance
__________10. Binislakan, Pangalay, Sua-Ku-Sua, and Sakutin
are Phillipine folk dances influenced by what continent?
a. Africa
b. Asia
c. South America
d. Europ

7
 As a grade 8 learner, what are your expectations?
Write in your activity sheet your own learning goals in relation
to this subject. (Example: I expect that at the end of this unit, I
will be able to identify and learn examples of regional and
national folk dances with Asian influence.)

My learning goals and targets after finishing this

module are:
1. ____________________________________________
____________________________________________
2. ____________________________________________
____________________________________________
3. ____________________________________________
____________________________________________

Now that you have written your personal

goals and targets, you may now proceed to the
next level which is a gateway for you to get
acquainted with the basics in folk dancing. So,
enjoy your journey as you unravel the origin and
historical background of the regional and
national folk dances with Asian influence. Your
journey starts now!!!
Good luck and enjoy!

8
Activity 1: Let’s do a Test!

This activity will help you determine your fitness levels in

connection with Flexibility, Cardiovascular Endurance and
Muscular strength.

Objective:
To determine the levels of fitness as to Flexibility,
Cardiovascular endurance and Muscular Strength.

Physical Fitness Tests

Flexibility
A. Sit and Reach

Purpose: To test the flexibility of the

lower extremities particularly the
hamstring.

Equipment
Masking Tape
Tape measure or Meter stick

Procedure https://www.clipart.email/clipart/touch-your-toes-clipart-black-

1. Sit on the floor with back,

and-white-
415110.html?fbclid=IwAR1U2KIoUnCzro0HYiHrjgaV167QHA7Wea
e_dE2gZiskHBI89KNwHJMB6aU

head and shoulders flat on the wall. Feet are 12 inches

apart.
2. Interlock thumbs and position the tip of the fingers on
the floor without bending the elbows.
3. Start the test by slowly sliding forward the tip of your
middle finger and trying to reach the farthest point or
distance.
4. Bouncing or jerking movement is not allowed.
5. Do it 2 times for reliability.

Scoring- record the distance to the nearest 0.1 centimeters.

Sit and Reach validation of Scores
SCORE STANDARD INTERPRETATION
5 61 cm. and above Excellent
4 46 – 60.9 cm. Very Good

9
3 31 – 45.9 cm. Good
2 16 – 30.9 cm. Fair
1 0 – 15.9 cm. Needs Improvement

Cardiovascular Endurance

B. 3-minute Step Test

Purpose: To measure cardiovascular

endurance

Equipment:
12-inch high bench
Timer

Procedure:
1. Step up on the bench using your https://www.clipart.email/clipart/3-
minute-step-test-clipart-

right foot first, then your left.

288248.html?fbclid=IwAR1s_SDfEbUITi
PSSKVjVhnW2wj-
wb30iUhenap0FCVr4mscVK203bi9gQQ

2. Step down the bench starting with the right foot, then
the left.
3. Step up and down at 24 cycles (up-up-down-down)
per minute for 3 minutes. (Metronome setting at 96)
4. Immediately after 3 minutes, sit down.
5. After 5 seconds, take your heart/pulse rate for 60
seconds. This will be your score in beats per minute (bpm).
6. Check your score in the table below.

3 minutes step test validation of scores

Males (in bpm) Females (in bpm) INTERPRETATION
<71 <97 Excellent
71 – 102 97 – 127 Good
103 – 117 128 – 142 Fair
118 – 147 143 – 171 Poor
>148 >172 Very Poor

10
Muscular Strength
C. Basic Plank

Purpose: To measure strength/ stability of the core muscles.

Equipment:
Mat
Timer

Procedure: https://gogoodguru.com/plank/?fbclid=IwAR2SzIGQ

For the Performer:

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91Fng3GYY4Zv_5Nlw

1. Assume a push-up position. Rest body on forearms with

the palms and fingers flat on the floor. Elbows are
aligned with the shoulders.
2. Legs are straight with ankles, knees and thighs touching
together.
3. Support weight on the forearms and toes; make sure
that your back is flat. Head, neck and spine are in a
straight line.
4. Keep abdominals engaged/contacted; do not let
stomach drop or allow hips to rise. (90 sec.- maximum
time)

Scoring- record the time in the nearest sec./min.

Basic Plank test validation of scores

Scores Standard INTERPRETATION
5 51 seconds and above Excellent
4 46 – 50 seconds Very Good
3 31 – 45 seconds Good
2 16 – 30 seconds Fair
1 1 – 15 seconds Needs Improvement

0 Cannot Hold Poor

11
Power:
D. Standing Long Jump
Purpose: To measure the
strength and power of the leg
muscles.

Materials/ Equipment:
Tape Measure
Grassy area, sandy area

Procedure: https://edurev.in/studytube/Chapter-Notes-Chapter-7-Test-and-Measurement-in-Sp/5689422e-e22e-444d-8e9e-

For the Performer:

0900ffb06709_t?fbclid=IwAR0gervcwR5yspx9QrjeBTNYrpyte9bbcvI_Ciq5LHoJ2UspfldRnnPxF0g

1. Stand behind the take-off line with the feet parallel to

each other, the tips of the shoes should not go beyond
the line.
2. Bend the knees and swing arms backward once, then
swing arms forward as you jump landing on both feet.
Try to jump as far as you can.
3. Do not control the momentum of the jump
(continuously move forward).
4. Perform the test twice in succession.

Scoring- record the best distance in meters to the nearest 0.1

centimeters.

Standing Long Jump test validation of scores

Scores Standard INTERPRETATION
5 201 cm. and above Excellent
4 151 cm. – 200cm Very Good
3 126 cm. – 150 cm. Good
2 101 cm. – 125 cm. Fair
1 55 cm. – 100 cm. Needs Improvement

12
Balance:
E. Stork Balance Test

Purpose: to assess one’s ability to maintain

equilibrium.

Materials/ Equipment:
Stop watch / Timer
Flat or non-slip surface
https://ww1.speechfoodie.com/balance-

Procedure:
fitness-
test/?fbclid=IwAR0dJLCKUEFCPo8Rx2oosB
QaOTTS1lFeaXRI0nNSky3FMtnpFKDC1SNZ
WSg

For the Performer:

1. Remove the shoes/slippers and place hands on hips.
2. Position the right foot against the inside knee of the left
foot.
3. Raise the left heel to balance on the ball of the foot.
4. Do the same procedure with the opposite foot.

Scoring- record the time taken on both feet in the nearest

seconds.
Stork Balance Stand test validation of scores
Scores 9 – 12 13 – 14 15 – 16 17 INTERPRETATIO
and N
abov
e
5 41 – 60 81 – 100 121 – 150 161 – Excellent
sec. sec. sec. 180
sec.
4 31 – 40 61 – 80 91 – 120 121 – Very Good
sec. sec. sec. 160
sec.
3 21 – 30 41 – 60 61 – 90 81 – Good
sec. sec. sec. 120
sec.
2 11 – 20 21 – 40 sec. 31 – 60 41 – Fair
sec. sec. 80
sec.
1 1 – 10 sec. 1 – 20 sec. 1 – 30 sec. 1 – 40 Needs
sec. Improvement

13
Agility:

F. Hexagon Agility Test

Purpose: to measure the ability of the body to move in different

directions quickly.
Materials/ Equipment:
Tape measure
Timer
Chalk
Masking Tape

Hexagon Size: length- 24 inches (60.5cm)

each angle - 120 degrees
Option: 20 inches

Procedure
For the Performer:
1. Stand with both feet together inside the hexagon
facing the marked starting inside. (facing 1 direction)
2. At the signal “Go” using the ball of the feet with arms
bent in front, jump clockwise over the line, then back over
the same line inside the hexagon. Continue the patter
with all the sides of the hexagon.
1. Rest for one (1) minute.
2. Repeat the test counterclockwise.
Scoring- add the time of the two revolutions and divide by 2 to
get the average. Record the time in the nearest minutes and
seconds.
Hexagon Agility Test validation of scores
Scores Standard INTERPRETATION
5 5 seconds and below Excellent
4 6 – 10 seconds Very Good
3 11 – 15 seconds Good
2 16 – 20 seconds Fair
1 21 – 25 seconds Needs Improvement

0 over 25 seconds Poor

14
Activity 2: Let’s Get Physical!
Using pencil and coloring materials create a catchy
fitness slogan that will encourage members of the family to
engage in physical activities.

15
Activity 3: Dance Engagement Survey
In this survey questionnaire are statements which pertain
to your engagement in the performance of dance.
Accomplish this by putting a check (√) mark to the column
corresponding your response to the given statements.
Agree Disagree Maybe
1. Folk Dances are good forms of
entertainment.
2. Folk Dances are better than any
other genre or form of dance.
3. Dance is an important aspect of
my life.
4. Dance is an excellent form of
exercise.
5. The performance of dance in my
family is highly appreciated.
6. I believe that dance can be a
medium for cultural education
among youth.
7. Dance I think is also a means of
training the youth for good
character.
8. Folk Dances performance is a
shameful experience.
9. Folk Dances shall only be
performed for foreigners.
10. Dance can be a catalyst for
social change.

Reflection:
Based from your responses to the survey questionnaire
above, write in your thoughts about your impression on folk
dance or dance in general.
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

16
 Philippine folk dances speak so much about the
heartbeat of our people for they tell about our costumes, 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, you can tell the origin
of the dance. The kind of music being used readily also tells
about 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 kinds of costumes, props, music, and
dance steps that are used and integrated in some of our
regional and national folk dances. The use of gong, kulintang,
and the incorporation of pentatonic scale to our musical
compositions are just concrete proofs of acculturation in the
country. These are the reasons why Philippine folk dances
contribute to vary rich culture of the country.
The following historical backgrounds and context
of the dance literatures of the Binislakan, Sakuting, Sua-Ku-Sua,
and Pangalay would give you a clear picture of the nature and
background of these regional and national folk dances. This
lesson may help you understand their significance and cultural
value, including the beauty and complexity of the people
living in those places.
Study these dances carefully and imbibe their
importance to the development of cultural value.

17
Basic Steps in Folk Dancing

Fundamental Feet and Arm Positions

There are five (5) basic arm and feet positions. They are
named as 1st, 2nd, 3rd., 4th and 5th positions of arms and feet.
Look at the illustrations below. Try to imitate them as you see
each of the positions. Be very critical with the details of the
positions.
ARMS POSITION

http://www.lrmds.depedldn.com /

FEET POSITION
Activity 4: I Can Do Fundamentals!

In this activity you will execute the fundamental arms and

feet positions without looking at the illustration shown above.

Feeling Accomplished!
After doing the activity, you will rate yourself according to
what you experience doing the activity. This task needs to be
accomplished with honesty and sincerity based on what you
have performed. Encircle the emoji dance which best
describes your achievement in the task.

Poor Fair Good Satisfactory Excellent

18
 You will be introduced with some basic steps which will later
be needed in learning Regional and National Dances with
Asian Influence. These Local/Indigenous Folk Dances include
Binislakan, Sua-Ko-Sua, Pangalay, Sakuting.

1. Arms in lateral position- both arms are at one side, either

sideward right or left, this may be done at shoulder, chest
or waist level.

2. Clockwise- like the motion of the hands of the clock. R

shoulder is toward the center of an imaginary circle.

3. Counterclockwise- the reverse direction of clockwise. L

shoulder is toward the center of an imaginary circle.

19
4. Free foot- the foot not bearing the weight of the body.

5. Free hand- the hand not placed anywhere or not doing

anything.

6. Hands on waist- place hands at the waistline.

7. “Hayon-hayon”- to place one forearm in front and the

other at the back of the waist. This is a Visayan term.

8. Hop- a spring from one-foot landing on the same foot in

place or in any direction. The other foot may be raised in
any direction (in front, in rear, sideward or across).

20
9. Inside foot- the foot nearest one’s partner, when
partner stand side by side.

10. Inside hand- the hand nearest one’s partner, when

partner stand side by side.

11. Jump- spring on one foot or both feet, landing on both

in any direction.

12. “Kumintang”- moving the hand from the wrist either in

a clockwise or counterclockwise direction. This is an
Ilocano term.

13. Outside foot- the foot away from the one’s partner,
when partners stand side by side.

14. Outside hand- the hand away from one’s partner,

when partners stand side by side.

15. Place- to put foot in a certain or desired position

without putting weight on it. The sole of the foot rest on
the floor.

16. Pivot- to turn with the ball, heel, or whole foot, on a

fixed place or point.

17. Point- touch the floor lightly with the toes of one foot,
weight of the body on the other foot.

21
 18. “Salok”- to swing 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”. This is atagalog term.

19. “Saludo” -partners bow to each other, to the

audience, opposite dancers, or to the neighbors with feet
together. This term is of Spanish origin and is used in almost
all Philippine dances.

20. “Sarok”- Cross the R (or L) foot in front of the L (or R),
bend the body slightly forward and cross the hands
(forearms) down in front with the R (or L) hand (forearm)
over the L (or R). This is a Visayan term.

21. Slide- to glide foot smoothly along the floor. The

movement may be finished with or without transfer of
weight.

22. Stamp- to bring down the foot forcibly and noisily on

the floor (like doing a heavy step) with or without transfer
of weight.

22
23. Step- to advance or recede by raising or moving one
foot to another resting place. There is a complete transfer
of weight from one to another.

24. Supporting foot- the foot that bears the weight of the
body.

25. Close step- Step R foot (ct. 1), close L to R foot (ct. 2)
= 1M this may be executed in any directions.

26. Change Step- Step R foot in front (ct. 1), step L close to
R foot in rear (ct. and), step R foot quickly in front (ct. 2).
This may be executed in any directions.

27. Step-Point- Step R foot in front (ct. 1), point L foot in

front (ct. 2) This step is executed in all directions.

23
28. Touch step- Point R foot in front (ct. 1), step R close to
L (ct. 2, 3). This is commonly done in front. =1M

29.Waltz Step- Step L foot in front (ct.1), step R close to L

in rear (ct.2), step L in front (ct.3). This may be executed in
all directions.

30. Cross Waltz- Cross Step R over L (ct. 1), Step L sideward
L (ct. 2), Step R in place (ct. 3)

31. Waltz Balance- Step R forward (ct. 1), Step L close to R

and raise heels (ct. 2), heels down (ct. 3)

32. Waltz Turn- step R (ct. 1) turn and step L (ct. 2); turn
and step R (ct. 3); close L to R (ct. 1); pause = 1M

24
 Activity 5: Identifying Steps!

Choose from among the terms inside the box below the
answer to the descriptions stated in each number.

Clockwise Counterclockwise “Hayon-hayon” Jump

Hop Place Slide “Saludo”
Change Step “Kumintang” Step-Point Hands on waist
Close step Point Waltz Step “Salok”
Arms in lateral position Step Pivot Waltz Turn

__________1. Like the motion of the hands of the clock. R

shoulder is toward the center of an imaginary circle.

__________2. Spring on one foot or both feet, landing on both in

any direction.

__________3. Partners bow to each other, to the audience,

opposite dancers, or to the neighbors with feet
together.

__________4. Both arms are at one side, either sideward right or

left, this may be done at shoulder, chest or waist level.

__________5. To put foot in a certain or desired position without

putting weight on it. The sole of the foot rest on
the floor.

__________6. Moving the hand from the wrist either in a

clockwise or counterclockwise direction.

__________7. Step L foot in front (ct.1), step R close to L in rear

(ct.2), step L in front (ct.3).

__________8. To place one forearm in front and the other at the

back of the waist.

25
__________9. A spring from one-foot landing on the same foot in
place or in any direction.

__________10. To swing 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”.

__________11. Touch the floor lightly with the toes of one foot,
weight of the body on the other foot.

__________12. To turn with the ball, heel, or whole foot, on a

fixed place or point.

__________13. Step R foot in front (ct. 1), point L foot in front (ct.
2) This step is executed in all directions.

__________14. Step R (ct. 1) turn and step L (ct. 2); turn and step
R (ct. 3); close L to R (ct. 1); pause = 1M

__________15. The reverse direction of clockwise. L shoulder is

toward the center of an imaginary circle.

__________16. To advance or recede by raising or moving one

foot to another resting place. There is a
complete transfer of weight from one to
another.

__________17. Step R foot in front (ct. 1), step L close to R foot in

rear (ct. and), step R foot quickly in front (ct. 2).

__________18. Step R foot (ct. 1), close L to R foot (ct. 2) = 1M

this may be executed in any directions.

__________19. Place hands at the waistline.

__________20. To glide foot smoothly along the floor. The

movement may be finished with or without
transfer of weight.

26
Regional and National Dances with Asian Influences
In this lesson you will be made familiar with the basic steps
and movements of the dances: Binislakan, Sakuting, Sua-Ku-
Sua, and Pangalay. This will give you a clear understanding of
the nature of folk dances.

Dance Title: BINISLAKAN (Lingayen)

Dance Researcher: Francisca Reyes-

Aquino
Meaning: With the use of sticks
Dance Culture: Christian-Lowland
Place of Origin: Lingayen, Pangasinan
Country of Influence: China
Ethno-Linguistic Group: Pangasinense
Classification: Social dance
Source: www.kalaliyan.com

Background:

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.
The 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, so the dance is also called Binislakan, which
in Pangasinan means, with the use of sticks.

27
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 composed 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 Title: SUA-KU-SUA

Dance Researcher: Ramon A.

Obusan
Meaning: My Pomelo Tree
Dance Culture: Lowland Muslim
(Coastal)
Place of Origin: Jolo, Sulu
Country of Influence: China,
Malaysia and Indonesia
Ethno-linguistic Group: Tausug
Classification: Courtship Dance
Source: www.kalaliyan.com

Background/Context:

The Tausug of Sulu, Southern Philippines, though

known as fearsome warriors are also better known as
sturdy seafarers and hardy farmers. Extensive orchards
are planted with coconuts and pomelos and fields with
staples like rice and root crops.
At harvest time, pomelo fruits are gathered in big
baskets before they are sent away. The Tausugs depend
strongly on the income the pomelo brings them and this

28
relationship is romanticized by comparing the sua’s
gentle leaves, slender branches, attractive fruits and
fragrant flowers to the virtues of a lady. Put to music, it is
this song that is sang by couples while flapping two
white fans each resembling leaves rustling in the wind in
the Sua-Ku-Sua Dance.
Sua-ku-sua performers, some men but especially
women come to the festivities with face thickly covered
with finely ground rice powder and their eyebrows and
sideburns enhanced with soot- all for beauty’s sake.

Movements/Steps Particular to Dance:

Creative imagery: Fans transform into tiny sails, face

mirrors, butterflies, shields and leaves. Tausug traditional
steps with Chinese influence.

Dance Properties:

Costume

Female:

Top (Barawasi) : Traditional loose blouse, long sleeves

with deep,plunging key-hole neckline.
Extra panels attached to the right and
left chest decorated with many tiny
brass buttons.

Material : Cheap printed or plain

Chinese silk or cotton.

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:

29
There are three choices:
1. Gold or brass filigree called
tusuk;
2. Paper bills pasted on slender
sticks; and
3. Pasteboard cut-out, the
front tip 8 to 10 inches
high, similar to Chinese
crowns covered with
gold foil.

Accessories : Gold or
imitation gold
earrings,
necklace,
bracelets and
brooches.

Suggested Footwear : Dancers are in

barefoot.

Male:

Top (Bajo) : Short-waist collarless shirt.

Open at the front with the
right panel overlapping the
left, studded with many tiny
brass buttons and is not
intended to close the front
but used as an additional
shirt decoration. It is allowed
to drop on the right side.

Material : cheap printed or plain

Chinese silk or cotton.

Pants (Sawal or Kantiu) : Similar to the female pants but in

darker colors and bolder designs.

30
 Accessories : Money-belt, Sarok hat,
pis siyabit
(rectangular
h
and-woven scarf
tied on the head
or hung loosely
over one
shoulder); Kris
(wavy knife) or
Barong (leaf-
knife).

Suggested Footwear : dancers are in

barefoot

Music :2/4 and 4/4; composed of three parts: A,

B andC. Gabbang- bamboo xylophone
shaped like a small boat. Bamboo slats
thinned and cut to graduated sizes to
produce three octaves of pentatonic
scale

Count :1, 2 to a measure in 2/4 time

signature 1, 2, 3, 4 to a
measure in 4/4/ time
signature

Dance Title: PANGALAY

Dance Researcher: Francisca Reyes-

Aquino
Meaning: Finger nail
Dance Culture: Lowland Muslim
(Coastal)

31
Place of Origin: Sulu
Country of Influence: Thailand, Malaysia,Burma, Cambodia,
Indonesia
Ethno-linguistic Group: Tausug
Classification: Social Dance

Background/Context:

Pangalay (also known as Daling-Daling or

Mengalai in Sabah is the traditional “fingernail” dance
of the Tausūg people of the Sulu Archipelago and
Sabah. This dance is the most distinctively Asian of all
the Southern Philippine 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.

The original concept of the Pangalay is based

on the pre- Islamic Buddhist concept of male
and female celestial angels (Sanskrit: Vidhyadhari,
Bahasa Sūg: Biddadari) common as characters in other
Southeast Asian dances.

Dance Properties:

Costume : Dancer wears a typical Joloana

costume
Accessories : Expert and professional
dancers use janggay,
extended metal finger
nails in each finger. The
rich people have janggay
made of solid gold or
silver.

32
Suggested Footwear : dancers are in barefoot.
Music : Played as many times as
necessary.Count one, two or one,
and, two and to a measure.

Movements/Steps Particular to Dance:

There are no definite directions, sequence of

figures, number and kinds of steps, hand movements
and positions used when performed by the natives. For
teaching purposes, the figures of this dance may be
created and dancers may form their own combinations.

Dance Title: SAKUTING

Dance Researcher: Francisca Reyes

Aquino
Meaning: Refers to rhythmic sticks
producing the accompaniment for
the dance.
Place of Origin: Abra and Ilocos Source: www.kalaliyan.com

Norte
Country of Influence: China
Classification: Recreatinal and Social Dance

Background/Context:

This 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 the
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. These young children hold sticks, one on each hand
and strike them together to make their dance livelier. The

33
 homes would give them money, homemade delicacies
and other things.

These dancing groups later reached as far as the

coastal towns of Ilocos region as years went by. The
rhythmic sounds produced by the stick attracted other
children and also adults and they also learned the
dance.

“Sakuting“ is an ethnic term which refer to the rhythmic

sticks producing the accompaniment for the dance.

Dance Properties:

Costume : Girl – Native Ilocano kimono style with

sleeves of elbow length; skirt of bright-colored
plaids shirred at the waist of ankle-length. Boy –
Camisa de chino and red trousers, and a native
hat.

Music : 2/4 and ¾ rhythms and composed of 9

parts: A, B, C, D, E, F, G, H and I.

Formation : Audience

X O

O X

X O

O X

One set of dancers

34
Activity 6: Written Check-up

A. Below are jumbled letters which when arranged

correspond to regional and national dances. On a page
in your activity notebook put numbers 1 to 5. Write each
formed word.

1. GANAPYAL - _______________
2. LABISNIKAN - _______________
3. ASU-UK-ASU - _______________
4. GIKNATUS - _______________
5. NACED FLOK - _______________

B. Copy the table in your activity notebook. Complete the

information by filling out the information needed.

Name of Literal Place of Dance Influenced

Dance meaning Origin Classification by What
Of the Asian
Name Country
Of the
Dance
Sua-Ku- Courtship dance
Sua

With the Lingayen,

use of Pangasinan
sticks
Sakuting Abrea and Social Dance
Ilocos Norte

Pangalay Wedding/Festival Malaysia,

Dance Indonesia,
Thailand,
Burma and
Cambodia

35
Activity 7: Dance with me!
Out of the dance steps you learn create dance-step
combinations in the tune of “Bahay Kubo”.

Example:
1. 3 steps forward starting with the right foot (at the count of
3 close right foot to left foot)
2. Execute 8 counts touch step starting with the right foot.
3. Do 3 steps arms and lateral position with waltz step.
4. Perform 3 steps sideward to the right then point left foot in
the count of 4.
5. Perform 3 steps sideward to the left then point right foot in
the count of 4.
6. Execute waltz turn clockwise.
7. Bow

Now, it is your time to do your own dance steps. Goodluck!

36
Activity 8:
A. Answer the following guide questions through drawing.
Put a short explanation about your work.
Guide questions:
1. Why is it important to know our heritage, culture and way
of life?
2. How can you show you are proud to be a Filipino?

37
 B. Fill in the Gap
1. In this activity, I have realized that_____________________.
2. I can create dance pattern by ______________________,
______________ and using any_________________________.
3. I can make my life more colorful and meaningful
through___________________.
4. For me, dance is just as important as ____________________
because without it, __________________________.

C. Self-Check:

Put a check mark ( / ) on the appropriate line. Do this in

your activity notebook.

To what extent did you learn the dance in terms of:

1. cultural values?
to a great extent
to a moderate extent
to a lesser extent

2. movements?
to a great extent
to a moderate extent
to a lesser extent

3. cultural appreciation?
to a great extent
to a moderate extent
to a lesser extent

Reflection:
How is life connected to dancing? Can you explain this?
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

38
Option 1: Video Recording
Activity 9: DANCE INTERPRETATION
In this activity, you will be provided with the dance steps
used of the four suggested Regional and National Dances with
Asian Influence. You can have it in your cellphone if you don’t
have other video recording devices.
1. Try to master the steps and the sequence of dance figures
given.
3. Record your dance while performing the dance steps given.
3 4 TIME DANCE STEPS
NAME OF STEP PATTERN/COUNTING (RHYTHM)
Waltz Step R sideward (ct. 1), Close
Step L to R (ct. 2), Step R in
place (ct. 3)
Cross Waltz Cross Step R over L (ct. 1), Step
L sideward L (ct. 2), Step R in
place (ct. 3)
Waltz Balance Step R forward (ct. 1), Step L
close to R and raise heels (ct.
2), heels down (ct. 3)
Waltz turn Step R sideward (ct. 1), Close
Step L to R and pivot turn R (ct.
2), Step R in place (ct. 3)

39
 ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’
PERFORMANCE IN FOLK DANCE
Weight Choreograph Execution Characterization and
y and Artistic and Mastery Behavior During
Presentation of Steps Performance
40% 30% 30%

OUTSTANDING: SKILLFUL: SOPHISTICATED:

5 Performs steps Demonstrates Demonstrates sophisticated
with high level of precise and skillful characterization and
mastery while execution of the appropriate behavior
creating several steps with high towards the dance and
formations in the level of groupmates
dance floor confidence
DYNAMIC: COMPETENT: EXPRESSIVE: Demonstrates
4 Performs steps Demonstrates the an atypical level of
with mastery steps characterization and
while creating competently and appropriate behavior
sufficient with confidence towards the dance and
formations in the groupmates
dance floor
CREATIVE: PRACTITIONER: REALISTIC: Demonstrates
Performs steps Demonstrates generally acceptable
with mastery but general level of characterization and proper
3 with limited yet coordination and behavior towards the
growing ability to competence in dance and groupmates
execute them the execution of
while creating steps with limited
formations in the but growing
dance floor confidence
FAIR: APPRENTICE: IMPROVING:
2 Performs steps Demonstrates Displays inconsistent
with general limited characterization and
mastery but coordination and demonstrates generally
could hardly competence in acceptable behavior
adapt to varying the execution of towards the dance and
formations in the steps with low groupmates
dance floor level of
confidence
STATIC: Performs NOVICE: Has very MECHANICAL: Has little or
1 steps with low or low or no no characterization and
no mastery and is coordination in behaves inappropriately
not capable of demonstrating towards the dance and
creating steps; has very groupmates
formations in the low level or no
dance floor confidence at all
Source: 2010 New Secondary Education Curriculum Teaching Guide

40
 Option 2: Show Your Creativity
Activity 10: You Can be a Designer!

This activity will activate your knowledge on the

location and origin of folk dances based on the
costumes worn by the dancers using indigenous
materials such as, paper, magazines, sacks, plastics, old
clothes etc. Study the procedures given and do what is
asked of you to perform.

 Prepare the materials you will need on creating the costume

you prefer to do. (paper, magazines, sacks, plastics, old clothes)
 In creating costumes consider the geographic location and the
respective props used by the dancers and even their facial
expressions.
 You can create costumes based on the pictures from the previous
topics.
 Do your best and have a beautiful masterpiece just like professional
designers do.

COSTUME MAKING RUBRIC

CATEGORY A B C D Total
(10 points) (8 points) (5 points) (3 points) Points
Costume The costume The costume The costume The
wholly relatively inadequately costume in
represents the represents the represents the some way
costume costume costume represents
chosen chosen chosen the
dance dance dance costume
chosen
dance
Resourcefulness Recycled Recycled Recycled Recycled
materials materials materials materials
been have been have been have not
innovatively used/created sparingly been used/
used/created used/created created
Originality The costume The costume The costume The
is unique and is quite is costume
imaginative original and conventional lacks in
presentable and similar to originality
others and
imagination

41
SUMMATIVE ASSESSMENT

PART I: Tracing the origin of the folk dance through its costume.
DIRECTION: In each number, write only P if the costume worn is
for Philippine Folk Dances, F if the costume worn is for Foreign
Dances of Non Folk Dance.

1. 2.

3. 4.

5. 6.

42
 7. 8.

9. 10.

PART II: Multiple choice

DIRECTION: Encircle the letter of the correct answer.
1. These are dances developed by groups of people that
reflect the traditional life of the people of a certain country or
region.
a. Street Dance c. Folk Dance
b. Modern Dance d. Cheer Dance
2. This folk dance uses two sticks to produce rhythms, imitating
the chopsticks used by the Chinese in eating.
a. Sakuting c. Sua-ku-sua
b. Binislakan d. Carinosa
3. Who is the dance researcher for the dance binislakan?
a. Francisca Aquino Reyes c. Francisca Reyes

43
 b. Francisca Reyes Aquino d. Francisca Reyes Soriano
4. What is the dance classification of binislakan?
a. Social dance c. Courtship dance
b. Wedding dance d. War dance
5. Where does the dance binislakan originated?
a. Pampanga c. Palawan
b. Pangasinan d. Palayan
6. This dance literally mean “My Pomelo Tree”
a. Sakuting c. Sua-ku-sua
b. Binislakan d. Carinosa
7. Who is the dance researcher of Sua-ku-Sua?
a. Ramon A. Obusan c. Ramon A. Bulosan
b. Ramon O. Obusan d. Ramon O. Bulosan
8. In what place does the sua-ku-sua originated?
a. Sulu c. Apari
b. Tawi-tawi d. Capiz
9. What is the dance classification of Sua-Ku-Sua?
a. Social dance c. Courtship dance
b. Wedding dance d. War dance
10. This dance is also known as Daling-daling.
a. Sakuting c. Sua-ku-sua
b. Pangalay d. Binislakan
11. In what ethno-linguistic group does pangalay came from?
a. Cebuano c.Tausug
b. Bicolano d. Mangyan
12. What is the dance classification of sakuting?
a. Social dance c. Courtship dance
b. Wedding dance d. War dance
13. What Asian country influenced the dance sakuting?
a. Japan c. Thailand
b. Indonesia d. China
14. The place of origin of the dance Sakuting is ____________.
a. Ilocos Sur c. Ilocos Norte
b. Ilo-ilo d. Iligan
15. Why folk dancing considered to have a benefit in a social
aspect of a person?
a. It help a person to be famous
b. It can give a person the chance to gain more friends
c. Folk dancing can develop one’s personality
d. None of the above

44
 Now that you are done reading this learning material.
I’m pretty sure that you are ready to face the challenges of folk
dancing in terms of its origin, historical background, dance
steps and step patterns, dance interpretations, and
performances. You discovered that just like any other sport or
game, dancing is also a physical activity that can promote
lifelong fitness and wellness. It is a good source of exercise that
can help develop grace and poise. It can even help in
maintaining good health as it highlights health-related skills
such as cardiovascular endurance, flexibility, and strength.
Surely, this unit has enriched your mind to explore the wonders
of folk dancing.
In Lesson 1, you have learned the significance of the
origins and locations of folk dances by identifying the
performers’ costumes and music. Here, you realized that my
merely looking at the costumes and props and listening to the
music would tell you right away about the point of origin of a
particular dance. You also learned the effects of acculturation
brought about by trade and settlement from our neighboring
countries like China, Malaysia, Indonesia, Burma, Cambodia,
Thailand, Japan in terms of costumes, props, accessories, and
make-ups which are significant in dance.
Lesson 2 has provided activities that led you to
understand rhythmic patterns of selected regional and
national dances with Asian influence, particularly Binislakan,
Sakuting, Sua-Ku-Sua, and Pangalay. You discovered that
rhythm plays an important role in the performance of the
dance. Feeling the beat of rhythm of the music is a motivating
factor for them to perform well.
Also Lesson 3 has provided you activities that inspired
you to demonstrate and master the basic steps of Binislakan,
Sakuting, Sua-Ku-Sua, and Pangalay.It enabled you to
enhance your dancing skill and motivated you to show and
share the steps you’ve learned. Thus, you realized that
mastering the basic dance steps can used the interpretation of
the dance literature to a large extent.

45
 Moreover Lesson 4 has presented you ways and means
to discover the meaning of the gesture and hand movements
in the performance of a particular dance. It enabled you to
use your creativity in conveying proper emotions and gestures
in different situations, as found in the different settings
necessary for the given dances.
Meanwhile Lesson 5 has provided you with insights that
made you master and understand the dance literature of
Binislakan, Sakuting, Sua-Ku-Sua, and Pangalay. Those insights
enabled you to perform the dances appropriately and
gracefully. In this part, you found out that the correct
interpretation of the dance depends on the mastery and
accuracy of your understanding of the elements of dance
such as steps, step patterns, and counting.
Finally Lesson 6 gave you a better perspective on the
importance of folk dancing in relation to your family and
community as it gave you opportunities to perform the given
dances with your family members during town fiestas and
school foundation days. It also gave you time to bond with your
family members by watching culminating activities/cultural
shows that developed family solidarity as well as family
wellness.
We hope that through this unit, you have become
more acquainted with the significance of folk dances, and
somehow you could use the knowledge you learned from this
unit not only during dance performances but also in
maintaining a well and fit body and a sustainable life. Physical
Fitness Test

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

46
 Dynamics - an interactive system or process, especially one
involving competing or conflicting forces
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
Folk dancing – a great exercise and a fun recreational activity
for people of all ages
Implements - a device used in the performance of a task
Improvisation - created extemporaneously, without planning.
Intensity - in music, the loudness and softness of an
accompaniment; in fitness, the degree of vigor or the amount
of effort expended during an activity
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
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

BOOKS
 Hiyas Philippine Folk Dance Company: Barrio Fiesta Suite
 Filipino Songs Atbp.: Philippine Folk Dance History
 Campers Point: Philippine Dance
 Philippine Folk Dances Volume 1 by Francisca Reyes Aquino
 Philippine Folk Dances Volume 2 by Francisca Reyes Aquino
 Philippine Folk Dances Volume 3 by Francisca Reyes Aquino
 Philippine Folk Dances Volume 4 by Francisca Reyes Aquino
 Philippine Folk Dances Volume 5 by Francisca Reyes Aquino
 MAPEH for a Better You by Jocelyn V. Bautista, Ma. Rosario C.
Franco, Josefino N. Carlos, Danilo S. Duyan, Emilio S. Jacinto, Jr.

47
Rosanna A Diana, Alvenia P. Palu-ay, Hazel P. Copiaco and
Gloria M. Gacoscosim.
 MAPEH II by Vilma V. Perez, Lilian N. Luna and Crisanto E.
Tomas
 A Classical Collection of Philippine Golk Dances, Series 4,
 Ramon Obusan for the Sua-Ku-Sua Dance Literature
 Sayaw Dances of Philippine Islands-Philippine Folk Dance
Society Vol. 1,2 and 4.
 2010 New Secondary Education Curriculum Teaching Guide

ON-LINE SOURCES
 The History of Filipino Folk Dance |
How.com http://www.ehow.com/about_6558571_history-
filipino-folkdance.html#ixzz27RKkEfja November 28, 2012
 The History of Filipino Folk Dance | eHow.com
http://www.ehow.com/about_6558571_history-
filipinofolkdance.
html#ixzz27RK6wqx1 November 28, 2012
 The History of Filipino Folk Dance | eHow.com
http://www.ehow.com/about_6558571_history-filipino-
folkdance.html#ixzz27RKzSk8d November 28, 2012
 http://wiki.answers.com/Q/What_is_sua_sua_folk_dance
#ixzz27Xedp W18 November 28, 2012
 http://www.bangkokcompanies.com/Dance/philipinnes
dance1.jpg
 .bp.blogspot.com/_LgNn7UyFJLc/SvPQXKIpG4I/AAAAAA
AAB3A/djYN O26rbPk/s400/leyte+dance+Theatre.jpg
November 28, 2012
 http://1.bp.blogspot.com/tcDLOUN0BlI/TbYivw6NsAI/AA
AAAAAAACE/MFbsNavnvNo/s1600/sin gkil.jpg November
28, 2012
 http://home.allgameshome.com/results.php?s=philippin
e+folk+dance&c ategory=images&start=1 November 28,
2012
 http://www.youtube.com/watch?v=8QApCK1lTrU
November 28, 2012
 www.kalilayan.com November 28, 2012
 http://images.search.yahoo.com/search/images;_ylt=A0
PDoX5F909Qa
h8A0iSJzbkF?p=pangalay%20dance&fr=yfp-t-521-

48
 s&ei=utf8&n=30&x=wrt&fr2=sg-gac&sado=1 November
28, 2012 asukacaramel.deviantart.com November 28,
2012
 www.pinoyexchange.com November 28, 2012
 http://www.flickr.com/photos/14280206@N03/ November
28, 2012
 www.fiestafilipina.org November 28, 2012
 www.panoramio.com November 28, 2012
 www.playle.com November 28, 2012
 archives.pia.gov.ph November 28, 2012
 Pangalaydance.com/the-pangalay-dance-style-of-the-
philippine-anintangible-cultural-heritage November 28,
2012
 http://www.finearttours.com/cultural_programs_in_buda
pest.html
 https://www.youtube.com/watch?v=uF6qs2Cr4Ro
 https://topyaps.com/top-10-most-popular-folk-dances-
in-the-world/
 http://russia-
ic.com/culture_art/traditions/1523#.XwbPlihKjIU
 http://dance.byu.edu/wp-content/uploads/2013/05/
 http://www.lrmds.depedldn.com/DOWNLOAD/PE_1Q4.P
DF

49
Writers:

AUREA M. RAMOS
CRYSTAL DANE M. SAPON
ROMARGLENN E. MOGOL
RAMOS NATIONAL HIGH SCHOOL
Ramos, Tarlac

50