LEARNING ACTIVITY SHEET NO.

Name of Student: ____________________________________________________________

Learning Area – Grade Level: ________________________________________________

Date: ______________________________________________________________________

I. INTRODUCTORY CONCEPT

The history of Philippine folk dancing incorporates influences from immigrants and
conquerors while at the same time maintaining distinctly Filipino roots. Philippine folk
dancing is a true reflection of daily life in past centuries while enchanting modern audiences
at the same time.
II. LEARNING SKILLS FROM THE MELCs

Engages in moderate to vigorous physical activities (MVPAs) for at least 60 minutes

most days of the week in a variety of settings in- and out-of school (PEH12FH-Ia-t-8)

1. Identify the different folkdances in the Philippines

2. Know the history and origin of each folkdance
3. Perform a particular folkdance

III. ACTIVITIES

A. Let us expand our understanding about the origin of Philippine Folkdance!

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.

Various types of animal movements, such as those of fish, crabs, snakes and monkeys,
have been incorporated into the choreography of folk dances. The movements enliven the
dances and demonstrate a zest for life. However, dances also are religious ceremonies. Since
Filipino people both fear and revere nature spirits and their ancestors, they have created
several folk dances to honor them.

Before the Spanish Various tribes were scattered across the more than 7,000 islands,
each with its own unique traditions and dances. The Igorot tribes lived in the mountains of
Luzon; a handful of these tribes still reside in the mountains, having successfully resisted
Spanish colonization. Many of the dances have been handed down through the generations.
Dance expresses this tribe's love of nature and gratitude to the gods. To imitate the wonders of
nature, dancers often swoop their arms like birds and stomp their feet to represent the

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 rumbling of the Earth. However, many other tribes in other regions are disappearing, and only
a few of their dances survive. Thanksgiving, worship and prayers for a bountiful harvest mark
the style of these dances.

 Voyage to Mindanao In the 12th century,

traders and seafarers came to the Philippines long
before the Spanish, bringing the Islamic faith with
them. The inhabitants of the southern region
converted to Islam, incorporating their new religion
into the fabric of their existing culture. The dances of
the Muslims, known as Moros, are alluring and
colorful. Female dancers wear costumes studded with
jewels, while male dancers brandish swords and
shields. The Moros use languid arm movements to
imitate the world around them such as the wind, the
sea and the fish. Each dance is punctuated by the haunting sounds of the kulintangan, a set
of small gongs. Like the Igorots, the Moros were able to resist Spanish rule, which is why
many of their dances continue to flourish.

 Maria Clara In 1521, Ferdinand Magellan came to

the archipelago, signaling the start of Spanish
colonization. However, the Spanish didn't get a foothold
in the Philippines until 1565. Three centuries of Spanish
rule left an imprint on the Filipinos. Many of them were
converted to Catholicism and forced to take Spanish
surnames.
 During this period, Western culture spread through
the islands, including such Western dances as the waltz,
fandango and polka. With a little Filipino flare, they
quickly became part of the culture. This "new" style of dance was named Maria Clara after
the tragic character in Jose Rizal's novel "Noli Me Tangere."

 Barrio Fiesta After toiling in the rice paddies,

countryside farmers would gather to sing and dance.
These dances revolve around everyday items, such as
glasses, candles, benches, hats and bamboo poles.
Because the dances are a celebration, they are often
referred to as "a barrio fiesta." One of the more
complicated dances is pandanggo sa ilaw, meaning
"dance of lights," which imitates wandering fireflies. To
accomplish the illusion, women delicately balance three
"tinghoy," or oil lamps, on their heads and palms.

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 The National Dance Tinikling, the national dance, is
considered the oldest of the Philippine folk dances. The
dance, which comes from the countryside, takes its name
and movements from the "tinikling" bird as it roams
between grass steams, crushes tree branches and avoids
traps set by rice farmers. Dancers skip gracefully back
and forth while trying to avoid getting their feet caught by
two bamboo poles.
 There are many tall tales about the dance's origins.
According to one story, Filipino farm workers who displeased their Spanish masters had their
feet smashed by two bamboo poles. When the poles were apart, the workers would jump to
avoid getting hurt. Thus, this dance was born.

LIST OF PHILIPPINE FOLKDANCES

1. Tinikling
 One of the oldest traditional Filipino dances,
the Tinikling dance, or bamboo dance, is
performed using long bamboo poles.
Originating on the island of Leyte in the
central Philippines, the Tinikling dance takes
its name from the tikling bird. The
movements of the dance are meant to
imitate the bird as it steps through its marshy habitat.

2. Carinosa
 The cariñosa is a much-loved folk dance in the
Philippines. Spanish in origin, it is regarded as a
national dance by scholars, and the characteristic
shy behavior of the female dancer is said to
represent the mannerisms of Filipino women. The
cariñosa is a popular folk dance that was
introduced to the country by the Spaniards when
they arrived in the 16th century. It belongs to the Maria Clara suite of Philippine folk
dances. These are so named in honor of Maria Clara, who was the main character in
Jose Rizal's novel Noli Me Tangere, ('Don't Touch Me'), about the colonization of the
Philippines by the Spanish. In it, Maria Clara is portrayed as a noble and loyal woman,
who after the publication of the novel in the 19th century became the female symbol of
virtue for Filipino women.

3. Itik - itik
 A popular in Visayan settlers of Surigao del Norte
and this particular dance is similar to duck

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 movement with the imagery of short choppy steps and splashing water onto it's back
while attracting a mate. It is said to have originated from the sibay dance w/ dejado
music,.

4. Sayaw sa Bangko
 Sayaw ed Tapew na Bangko (dance on top of
a bench), is a dance which originates from
Pangasinan and researched by Jovita Sison.
It is performed by a couple on a narrow
bench, inching and hopping from one end to
another. Dancer show skill in staying up the
bench as they exchange places by moving
their way around or the girl thrown in the air
while boy moves to the other end. They do
not compete but rather complement each
other so that no one falls. It is usually performed during town fiestas.
   

5. Binasuan
 Binasuan dance derived its name from a
Pangasinan phrase that literally translates to
mean "with the use of a drinking
glass." Though it is not known exactly when
Binasuan dance originated, dance has been an
important part of Filipino culture for centuries,
beginning as a way for people to express
thanks to the gods, in festivals and traditional celebrations, for blessings and prosperity.

6. Pandanggo sa ilaw
 Pandanggo sa ilaw / Oasis Origin: Lubang
Island, Mindoro (Visayas) This popular dance
of grace and balance comes from Lubang
Island, Mindoro in the Visayas region. The term
pandanggo comes from the Spanish word
fandango, which is a dance characterized by
lively steps and clapping that varies in rhythm in
3/4 time. This particular pandanggo involves the
presence of three tinggoy, or oil lamps,
balanced on the head and the back of each
hand. After a good catch, fishermen of Lingayen would celebrate by drinking wine and
by dancing, swinging and circling a lighted lamp. Hence, the name "Oasiwas" which in

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 the Pangasinan dialect means "swinging." This unique and colorful dance calls for skill
in balancing an oil lamp on the head while circling in each hand a lighted lamp wrapped
in a porous cloth or fishnet. The waltz-style music is similar to that of Pandanggo sa
Ilaw.

7. Maglalatik
 or Magbabao is a war dance representing in a
picture a battle between the Moros and the
Christian over the latik, the remainder left after
the coconut milk has been boiled. At some
time in the course of Spanish rule, with
coconut shells as tools, the people of the
barrios of Loma and Zapote in the town of
Biñan in the province of Laguna danced the
Maglalatik.
`
8. Kuratsa
 The Kuratsa is actually remarkably popular with
this Visayan man and women specially this Waray
man and women of the Western Visayas region
in the Philippines and illustrates every critical
special occasion inside Western Visayas
residential areas.
The Kuratsa maybe the dancing of courtship from the
Visayas region of the Philippines. At marriage ceremony
and fiestas, this Kuratsa serves for the reason that
standard income dancing whereby visitors carry turns pinning income on the woman and
groom’s clothes. That stands for friends’ and families’ wants once and for all chance and
affluence inside couple’s future.

9. Polkabal
 The dance got its name from two popular dances
in the late 1800s: the polka and balse (waltz).
Though the balse is mentioned in the name of
this dance, there is no single waltz step used in
this dance. The steps of this dance are identified
as the luksong uwak (jumping
crow), wagayway (fluttering), hardin (garden), pu
nta y tacon (heel and toe), corrida (bullfight), paseo (leisurely
walk), ensayo (practice), contragansa (hop-cross) and the contragansa doble (double
hop cross).

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10. Habanera

 The Habanera Botolena is a dance that got its

start in Cuba. It is a mix of Cuban, Spanish and
African rhythms and dance moves.

B. Let’s Explore and Discover!

1. Choose one (1) Philippine Folkdance to perform
2. Familiarize the steps involved in that particular Folkdance
3. Practice the steps of your chosen Folkdance.

IV. EVALUATION :

Directions: Choose the letter of the best answer and write it on the space provided
before each number.
____ 1. Performed in primitive tribes and have retained their close kinship with religious rituals
and community custom
a. Folkdance b. Ritual Dance c. Game dance d. Social dance
____ 2. Dances that express feud and enmity wherein two male dancers engage in physical
combat with Spartan-like intensity.
a. War dance b. Social dance c. Folkdance d. Ritual dance

____ 3. Pandango Ilocano, Pandango Visayan, Pandango Dumagueteno, Pandango Ivatan,

Pandango Rinconda, Pandango sa Ilaw
a. Occupational dance b. Pandango variations c.Ethnic dance d. Social dance
____ 4. A courtship dance in Visayas region
a. Polkabal b. Pandango sa Ilaw c. Kuratsa d. Carinosa
____ 5. It is considered as the oldest among the Philippine folkdances.
a. Maglalatik b. Tinikling c. Carinosa d. Itik-itik

B. Let’s Dance!
Accomplish the following tasks with smile.
a. Choose a particular folkdance and perform it by partner.
b. Provide a video while completing the tasks. Submit your video in the PEH group chat.

V. RUBRIC

CRITERIA RATING
Choreography 30%

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 Proper execution 30%
Gracefulness 20%
Stage Presence 20%
TOTAL 100%

VI. ANSWER KEY

1. A 2. A 3. B 4. C 5.B

VII. REFERENCES

Paradero, Justine https://www.sutori.com/story/the-history-of-dancing-in-philippines--

Hsx9wiCeRSbeZCZ7xpwcuaWP

https://sites.google.com/site/philippinefolkdancevol1/importance

https://www.reference.com/world-view/objectives-philippine-folk-dance-
2b13f7cb536e2ea6

https://www.slideshare.net/odelljulian/folkdance

https://quizlet.com/306065038/folk-dance-flash-cards/

12
PHYSICAL EDUCATION AND HEALTH 3
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 Quarter 2, LAS 2:

DISTINCTIONS OF PHILIPPINE
FOLKDANCE

Source : Bailesdelasfilipinas.blogspot.com

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 Development Team of the LAS

Writer : MELINDA M. LLANDER

Editor : FERDINAND B. LAMADRID HT-III/MAPEH Department

Reviewers : NELSON B. GOMEZ, EPS /DARCY GUY Y. MANEBO, EPS

Illustrator : MELINDA M. LLANDER

Layout Artist: DANIELLE ABIE M. LLANDER

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