Republic of the Philippines

Surigao del Sur State University

Rosario, Tandag City, Surigao del Sur 8300
Telefax No. 086-214-4221
Website: www.sdssu.edu.ph

Module 2 in PE2

RHYTHMIC ACTIVITIES

PE Instructors:

C. Balacuit, J. Baterbonia, M. Biyo, E. Doctor, A.

Lawangon, T. Maliza, Ma. S. Millan, C. Mongado,
K. Narcana, D. Urbiztondo

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Learning Objectives:

 Define folk dance;

 Recall the origin and discuss the history of Philippine Folk Dance;
 Describe the different dance terms;
 Identify popular Philippine folk dances;
 Perform a Philippine Folk dance;
 Appreciate the beauty of folk dance by executing the fundamental positions of
arms and feet.

DANCES

Dance, rhythmic and expressive body movement, usually coordinated into a pattern and
adapted to musical accompaniment. Dance is perhaps the oldest of the arts, reflecting
man’s age old need to communicate joy, grief by using the most immediate instrument
at his disposal-his body.

Almost all-important occasions in the life of the primitive man were celebrated by
dancing, birth, death, marriage, war, a new leader, the healing of the sick, prayers for
the rain, protection, and forgiveness were all expressed through dancing.

Some of the more important features of the dance are rhythm, or the relatively fast or
slow repetition and variation of movements; design or the arrangement of movements
according to a pattern; dynamics, or variations in the force and intensity of movement;
and technique, or the degree of body control and mastery of basic steps and positions.
Also important in many dances are gestures, especially hand movements.

Folk Dance Definitions

 The traditional recreational dance of an indigenous society showing the cultural

characteristics of a specific people at a given time and place.
 Traditional, social expression through movements with rhythmic accompaniment
which are characteristic of the community life of the people different nationalities.
 The vivid intimate bond of customs, ideals, and traditions of the past through
which a multitude of national characteristics in music, steps, and costumes are
preserved.

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  A dance developed spontaneous and naturally by a specific folk, usually handed
down from generation to generation and following a fixed basic pattern.

Brief History of the Philippine Folk Dances

 For centuries, dancing and singing have been the principal past time of the
Filipino people.
 They considered dancing as religious activity.
 During Spanish period, dancing played important part of the social activities of
our ancestors.
 Kumintang, oldest recorded activity among the Christianized Filipinos.
 Spaniards introduce Fanangos, lanceros, Rogodon,Carinosa, and Curacha.
 Philippine Folk dances are blended with Western and other European countries
during the 16th Century.
 The Bayanihan, Filipinescas, Barangay, and Ramon Obusan Dance Troupes
have performed outside the country through our own Folk dance and brought
pride and prestige to the Filipinos.

Origin of the Dance in the Philippines According to Filipino Legend

According to Philippine legend, the first man and the woman went up to the hill to make
their first home. They begot children and later became the ancestors of diverse tribes.

Several beliefs influenced their way of life. when death struck, when lighting flashed in
the sky, and when thunder rumbled, the tribes were struck with fear. They thought the
gods were angry. To placate their deities, they offered sacrificial rites by the way of fire
and smoke in the belief that smokes from fires they kindled carried their invocation
heavenwards.

When illness and pestilence befell the tribes, the people wailed and chanted and
danced long into night, so that evil spell might be broken. When the earth caked from
drought, they performed dance of propitiation so that the divine entities might take pity
on them and send rain to their parched fields. And when rains came and drenched the
soil to assure a bountiful harvest, these children of the gods danced in the moonlight in
joy and thanksgiving.

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 In the acts of imploring, conciliating and giving thanks to the gods, the people
these islands created dance to live forever in themselves, in their children and their
children’s children.

ETHNIC DANCES

The ethnic dances of the Philippines are classified into two major’s categories:

 The dances of the NON-CHRISTIAN Filipinos.

a. Dances of the Traditionalists or “pagan” groups

b. Dances of Muslims group

 The dances of the Christian and Lowland Filipinos or Western

influenced.

a. Dances are savage, vigorous, and mimetic in character.

b. Some are light-hearted and mimetic.
C. Some are performed without music or melodic accompaniment.

Dances of the AETAS or NEGRITOES

 They are focused on the feet.

 The arm movement are simple and free
 Musical instrument includes bamboo and wooden sticks, clappers, shields
and native lute (kudyapi, kettle drums, mass metals drums, bronze
gongs.)
 Dances are:
1. Rituals
2. Flirtation
3. Courtship
4. Game dances
5. Animal dance
6. Duel and war dances

Dances of the MUSLIMS

 Have cultural influences from Hindu, Japanese, Chinese, and Arab –

Persian civilizations.
 Are oriental, exotic, and stylized.
 The musical instruments are agongs, kulingtangan, bamboo xylophones
and drums.

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The PHILIPPINE DANCE

Dance in the Philippines influences the diversity of our cultural beginning and the
drama of our everyday lives. It blends the exotic customs and cultures of many
countries and races.

The Philippine archipelago was inhibited by three racial groups even before the
coming of Magellan in 1521. They were the Pygmies, the Indonesians, and the Malays.
The Negritos and Proto-Malays were the descendants of the Pygmies. Dancing among
the Negritos was mostly pantomimic performed to depict the events of daily chores.

Filipinos possess natural grace, an inborn love for music and dance. Dancing is
considered a religious activity among them. They dance at many occasions-births, love,
courtship, thanksgiving, wedding war, victory, marriage, planting and harvesting,
prosperous, voyage, recovery from sickness and to heal the sick.

In places where life is easy, the dances are gay and frolicsome. Dance in places where
life is hard are sad, slow and even mournful.

Classification of Philippine Folk Dances

Francisca Reyes Aquino was considered as the “Mother of Philippine Folk Dances” for
her untiring efforts in collecting, compiling, and propagating folk dances, and she
received the Republic Award of Merit given by the late Pres. Ramon Magsaysay for her
outstanding contribution to the advancement of Filipino culture in the field of dance in
the year 1954.

In 1973 President Marcos gave Dr. Reyes Aquino the National Artist for Dance Award.
She has been an author of several books which includes: Philippine National Dances
(1946); Gymnastics for Girls (1947); Fundamental Dance Step and Music (1948);
Foreign Folk dances (1949); Dances for all Occasion (1950); Playground Demonstration
(1951; and Philippine Folk Dance, Volumes I to VI.

1. GEOGRAPHICAL LOCATIONS

 National Dances – traditional dances throughout the Philippines with a

common basic movement or pattern but with slight variations.

Examples:
Carinosa Kuratsa Balitaw
Rigodon Pandango Surtido

 Local or Regional Dances – dances found in certain localities or regions only

Example:
Itik – itik (Surigao del Sur)
Alcamfor (Leyte)
Maglalatik (Laguna)
Basalto (Pampanga)

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2. Nature of the Dances

 Occupational Dances – dances that depicts actions, characteristics,

occupations, industries, and phase of human labor.

Examples:
Rice Festival – the largest number of dances
Pabirik – depicts the different stages of gold panning.
Mananguete – tuba gatherer

 Religious or Ceremonial Dances – performed in connection with religious

vows, practices, and ceremonies.

Examples:
Obando Dugso Sinurog

 Courtship Dances – dances that depict love making or the love theme.

Examples:
Rogelia Lulay Hele-Hele Bago Quiere

 Wedding Dances – performed by the newlyweds, by friends and relatives of

the bride and groom, or by father of the bride and the mother of the groom.

Examples:
Pantomina (bride and groom)
Pandang-Pandang (bride and groom and friends or relatives of each side)
Soryano (dance by the parents of the future groom, the visit of the parents
of the bride)

 Festival Dances – performed in connection with celebrations, a feast, a

barrio fiesta good harvest and good fortune.

Examples: Kuratsa La Jota Putong

 War Dances – intended to show imaginary combat or duel with the use of
fighting implement like bolo kris or spear.
 Comic Dances - dances with funny and humorous movements mainly
intended for entertainment.
 Games Dances – dances that have some play elements and are for
recreational purposes.
 Social Dances – dances performed during social gathering.

Example: Rigodon Lanceros

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Benefits of Dancing

1. Fitness – dancing is one of the versatile and satisfying activities one can participate
in as a form of expression, recreation or a form of exercise to develop fitness.

2. Joy and Satisfaction - the physical well-being of a person who participates is

improved.

3. Grace and Coordination – it improves response to rhythmic patterns. Constant

participation in dance activities will improve one’s neuromuscular coordination and help
one’s acquisition of grace.

4. Self-Expression- it develops poise and good posture.

Basic Dance Movements

Basic movement skills are the bases of precise dance skills for folk and social dancing,
gymnastics and natural dancing. These movements are simple and easy to execute but
it would be an interesting from of dance expression when two or more of these steps
are combined and performed with music. These simple steps will make one’s body parts
coordinate by movements with the music.

Locomotor Movements of even rhythm include walking,running,jumping, and leaping.

Locomotor Movements of uneven rhythm include galloping, sliding, and skipping.
Nonlocomotor Movements involve bending, stretching, swaying, swinging,
clapping, shaking, pushing, pulling, falling, and rising.

 Walk – a movement through space done by shifting weight from one foot to the
other without losing contact with the floor.
 Run - a movement through space by transferring weight from one foot to the
other with a short period of non-support while the body and the feet are off the
floor. The tempo is faster than the walk.
 Hop- a spring on one foot and landing on the ball of the same foot.
 Jump – a spring one foot or both feet and landing on both feet. Push off the floor
with strong foot and knee extension, the heel coming off first and then the toes.
Upon landing, the ball of the foot touches the floor first and then the heel comes
down. The knees bend to absorb the shock of landing.
 Leap – a transfer of weight from one foot to the other foot by pushing off with a
spring and landing on the ball of the other foot. The leap is similar to run except
that it is executed with greater height or covers a greater distance. The heel
comes down. After landing and the knees bend to absorb the shock.
 Gallop - a step on one foot followed by a quick close of the other foot just at the
back or side of the leading foot. The rhythm is long on the step forward or
sideward direction and short at the close. One foot is always leading.
 Slide – slide to the right foot, slow beat, close the left foot to the right foot,
shifting the weight quickly onto the left. The rhythm is long on the leading foot
and short on the closing foot.

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 FUNDAMENTAL DANCE POSITIONS AND DANCE TERMS

Five Fundamental Positions of Folk Dance

ARMS POSITIONS

1ST Position
Both arms are raised forward in a circle in
front of the chest with the finger tips about an
inch apart.

2nd Position
Both arms are raised sideward with graceful
curve at shoulder level.

3rd Position
Left arm is raised sideward as in 2nd position;
right arm raise upward.

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 4th Position
Left arm is raised in front as in first position;
right arm raised overhead.

5th Position
Both arms are raised overhead.

FEET POSITIONS

1st Position
Heels close together; toes apart within an angle of around 45
degrees.

2nd Position
Point the right toe sideward; bring down the heel of the right
foot.

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 3rd Position
Heel of one foot is close to in step of other foot.

4th Position
Point the right toe forward; bring down the heel of the right
foot.

5th Position
Close the right foot to the left by circling and return to the first
position.

COMBINATION OF FEET AND ARM POSITIONS

1ST Position 2nd Position

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3rd Position 4 th Position

5th Position

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 COMMON FOLK DANCE TERMS

 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.

 Brush- weight on one foot, hit the floor with the ball or heel of the other foot (the
free foot) after which that foot is lifted from the floor to any direction

 Clockwise- like the motion of the hands of the clock. R shoulder is toward the
center of an imaginary circle.

 Counterclockwise- the reverse direction of clockwise. L shoulder is toward the

center of an imaginary circle.

 Cut – to displace quickly one foot with the other, thus completely taking off the
weight of the body from the displaced foot.

 Do-si-do the vis-à-vis (opposites) –both advance forward, pass each other’s right
(or left) side, step across to the right (or left), move backward without turning around
pass each other’s left (or right) side to proper places. This is of foreign origin and is
used in many Philippine dances.

 Free Foot- the foot not bearing the weight of the body.

 Free Hand – the hand not placed anywhere or not doing anything.

 Hands on Waist – place hands at the waistline.

 Hayon – Hayon- to place one forearm in front and the other at the back of the
waist. This is a Visayan term.

 Hop – a spring from one foot landing on the same foot in place or in any direction.
The foot may be raised in any direction (in front, in rear, sideward, or across).

 Inside Foot – the foot nearest one’s partner, when partner stand side by side.

 Inside Hand – the hand nearest one’s partner, when partner stand side by side.

 Jaleo – partners turn once around clockwise (with R elbows almost touching
counterclockwise (with L elbows almost touching) using walking or any kind of
dance step. The hands near each other are on waists. This is a Tagalog term but of
Spanish origin.

 Jump – spring on one foot or both feet, landing on both in any direction.

 Kumintang – moving the hand from the wrist either in a clockwise or

counterclockwise direction. This is an Ilocano term.

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

 Outside Hand- the hand away from one’s partner, when partners stand side by
side.

 Place – to put foot in a certain or desired position without putting weight on it. The
sole of the foot rest on the floor.

 Pivot – to turn with the ball, heel, or whole foot, on a fixed place or point.

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

 Salok – to swing the arm downward-upward passing in front of the body as if

scooping, trunk is bent following the movement of the arm doing the salok. This is a
Tagalog term.
 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.

 Sarok – cross the R (or L) foot in front of the L (or R), bend the body slightly forward
and across the hands(forearms) down in front with the R (or L) hand (forearm) over
the L (or R). This is a Visayan term.

 Slide – to glide foot smoothly along the floor. The movement may be finished with
or without transfer of weight.

 Stamp – bring down the foot forcibly and nosily on the floor (like doing a heavy
step). With or without transfer of weight.

 Step – to advance or recede by raising or moving one foot to another resting place.
There a complete transfer of weight from one to another.

 Supporting Foot – the foot that bears the weight of the body.

SELECTED POPULAR PHILIPPINE FOLK DANCE

The Philippines has many popular folk dances which have evolved and
changed as they have been passed down from generation to generation.
Although a particular dance might be performed slightly differently from one
region to the next, its remains true to its roots. Here are some of the most
popular dances from the region.

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A. Philippine Folk Dances from Luzon

1. Banga
Tribe: Kalinga
The Banga or pot dance is a contemporary performance of Kalinga of the Mountain
Province in the Philippines. This dance illustrates the languid grace of a tribe otherwise
known as fierce warriors.
Link: https://www.youtube.com/watch?v=r7cF8kY8LD8
2. Maglalatik
Maglalatik was originally performed in Biñan, Laguna as a mock-war dance that
demonstrates a fight between the Moros and the Christiansover the prized latik or
coconut meat during the Spanish rule, this dance is also shown to pay tribute to the
town’s patron saint, San Isidro Labrador.
Link: https://www.youtube.com/watch?v=do4GyUk3XKc
3. Pandanggo sa Ilaw
Pandanggo sa Ilaw - The word pandanggo comes from the Spanish dance
“fandango”characterized with lively steps and clapping while following a varying ¾ beat.
Pandanggo requires excellent balancing skill to maintain the stability of three tinggoy, or
oil lamps, placed on head and at the back of each hand. This famous dance of grace
and balance originated from Lubang Island, Mindoro.
Link:https://www.youtube.com/watch?v=MLuWHNNi_Ug

4. Balse
Balse was a popular dance in Marikina, Rizal during the Spanish times. Balse
(valse in Spanish) means waltz. This dance was performed after the lutrina ( a religious
procession) and the music that accompanied the dancers was played by the musikong
bungbong (musicians using instruments made of bamboo).
Link: https://www.youtube.com/watch?v=Dlq8tSrN_QQ
5. Jotabal
It is derived from the words Jota and valse. Jota is a popular dance introduced in
the Philippines by the Spaniards. Valse means waltz, a step or a dance in 3/4 time. This
lively festival dance originated in Camohaguin, Gumaca, Quezon (formerly Tayabas).
Link: https://www.youtube.com/watch?v=H82gEiViPkk

6. Makonggo
It is a comic dance from Santa Maria, Bulacan. Makonggo is derived from the
Tagalog word chonggo or unggo which means monkey. In this dance, the dancer
imitates a monkey - its characteristic movements, gestures, grimaces, etc. when it is in
a happy, playful or angry mood, while it is playing, eating, or resting. Only one
man performs this dance. Most of his movements are his own improvisations.
Link: https://www.youtube.com/watch?v=lKuMkVkC4vU

B. Philippine Folk Dances from Visayas

1. Tinikling
Tinikling means "bamboo dance" in English. The dance imitates the movement of
the tikling birds as they walk between grass stems, run over tree branches, or dodge
bamboo traps set by rice farmers. Dancers imitate the tikling bird's legendary grace and
speed by skillfully maneuvering between large bamboo poles.

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 Link: https://www.youtube.com/watch?v=_nisbR3D5vQ

2. Kuratsa
The Kuratsa is highly favored by the Waray people of the Eastern Visayan region
in the Philippines. Strictly speaking, The Kuratsa must be done the amenudo; that is,
only one couple dances it at a time. the Kuratsa is however, very different in the manner
of execution to the Mexican counterpart.
Link: https://www.youtube.com/watch?v=_Ig24-dYruA
3. Mazurka Boholana
Mazurka Boholana is a Spanish-inspired ballroom dance from the Bohol province
of the Philippines. Although the mazurka is the Polish national dance, it was wildly
popular throughout Europe in the 19th century and even in colonized lands overseas.
Link:https://www.youtube.com/watch?v=IzepIUESB-8

4. Escotis
It is popularly known in Capiz and is performed in any social gathering of the
people inhabiting the mountains of Capiz in the barrios of Tinpas and Panitan and also
in the town of Panay.
Link: https://www.youtube.com/watch?v=Iuts4ppizXI

C. Philippine Folk Dances from Mindanao

1. Itik-Itik
The Itik-Itik is a dance from Surigao del Sur, in which the movements of a duck are
imitated. An itik is a species of duck.
Link: https://www.youtube.com/watch?v=l60Aft-TOSY
2. Singkil
The Maranao dance called Singkil is in the repertory of all Filipino dance troupes.
In 1958 the Bayanihan Dance troupe started with a simple version and has since
developed it into a theatrical and stylized spectacle to the point of its becoming the
troupe's signature piece.
Link: https://www.youtube.com/watch?v=kkMhBhfBuHU

3. Kandingan
Performed at Tausog weddings in Jolo, the Kandingan consists of figures and
steps based on classical and traditional Indian dance forms. Dancers perform
with slightly bent knees turned outward, fingers held stiffly together with the thumb
outward and apart.
Link: https://www.youtube.com/watch?v=cPNwGpbA-BY

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 PHILIPPINE NATIONAL DANCE INTERPRETATION

Cariñosa

(Spanish pronunciation: [kaɾiˈɲosa], meaning the loving or affectionate one) is a

Philippine dance of Hispanic origin from the Maria Clara suite of Philippine folk dances,
where the fan or handkerchief plays an instrumental role as it places the couple in
romance scenario.

History of Cariñosa

Dances in the Philippines are a melting pot of indigenous, Asian, American, Latin and
European styles. The cariñosa is a popular folk dance that was introduced to the
country by the Spaniards when they arrived in the 16th century.

The cariñosa dance is a popular folk dance performed throughout the Philippines. 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 Filipina women. The cariñosa is
a much-loved folk dance in the Philippines and the characteristic shy behavior of the
female dancer is said to represent the mannerisms of Filipina women.

During the Marcos regime, the cariñosa was named the national dance of the
Philippines. To this day school text books still claim this; however, the Philippine
government maintains it is another dance called "tinikling," which is a native dance.
Today, the cariñosa is performed at social gatherings and festivities.

Origin of Cariñosa

Cariñosa was introduced to the country by Spanish colonizers. It is believed that

Panay Island, located in the Visayan Islands group was the original home of the
cariñosa. The word Cariñosa is from a Spanish word which literally means "she that is
loving" (the verb ending indicates it refers to a woman). As such, it is a slow dance
where a man and a woman dance together. Its style bears resemblance to a bolero or a
waltz. The Spanish first arrived on the island in 1569. The dance soon spread around
the Philippines, giving rise to different versions in different regions. In Bicol, two
handkerchiefs are used and both dancers point their feet forward as their hands go up
at the same time. In Visayan, the couple goes as far as combing each other's hair. The
hide and seek movements are common to all the versions. One variation performed at
weddings involved the man dancing around the woman until she consents to dance with
him.

Dance Steps of Cariñosa

The basic footwork is similar to the steps used in a waltz: You move around the floor
by stepping to the side with your left foot, then moving your right foot next to your left.
You finish off this series of three movements by tapping your left foot on the floor.
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Repeat this sequence of steps, this time beginning by stepping to the side with your
right foot.

Spins are another fundamental element of cariñosa. They take up the last two bars of
an eight-bar sequence. If you're the male half of the dancing pair, you either fold your
hands behind your back or put your hands on your hips. The best way to think of this
modified hands-on-hips pose is to make sure your thumbs point inward toward your
waist and your knuckles rest on your love handles, even if you don't have them. If you're
the female, hold your skirt up a few inches off the floor by taking each side of your skirt
between your thumb and forefinger. You can either do two turns, one for each three-
beat bar, or one turn on the first three-beat bar. For the latter, you simply stand still for
the last three-beat bar. You'll always turn to the right.

Figures of Cariñosa

The 1st figure is the “Three Steps and Point”. It starts with the right foot, take
three steps sideward right. Point left foot in front. Right hand in reverse “T” position and
left hand on skirt/waist. Kumintang right hand when pointing left foot.

The 2nd figure is “Pointing”. It starts with the right foot, take three steps
forward and meet at the center. Take four touch steps in front, right and left alternately.
Take four steps forward to partner’s place, passing each other by right shoulder. Turn
right about to face each other and close right to left.

The 3rd figure is “Back-toBack”. The partners meet at the center as in figure
II. Turn right about to be in back-to back position, slightly to right of partner. Girl holds
skirt; boy places hands on waist. Point right foot in front and shake right index finger at
partner over right shoulder by left shoulder; left hand on waist. Step right sideward to be
side by side with partner by left shoulder; place right hand on waist.

The 4th figure is the “Hide-and-Seek with Fan”. The girl hold and open fan
with right hand. Point right foot in front and cover face with fan. The boy-point right and
left foot alternately in front and look at partner from underneath the fan, hands on waist.

The 5th figure is “Kneeling and Fanning”. Take three steps forward to the
center. Girl kneels while boy passes around on right of girl to stand behind her and
faces the same direction as girl. Boy points right and left foot four times alternately in
front, looking at girl over her right and left shoulder alternately. Girl looks at partner over
her right and left shoulder alternately.

The 6th figure is “Hide-and-Seek with Handkerchief”. Partners meet at the

center as in figure II. Boy takes handkerchief at corners in a perpendicular position
between their faces with boy’s hands on top at face level.

The 7th figure is “Flirting with Handkerchief”. Partners turn right shoulders
toward each other. Starting with right foot, take eight waltz steps forward, moving
around clockwise. Girl holds handkerchief at one corner and place it over her right and
left shoulder alternately at every measure, looking back at the boy at the same time.

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Boy, in the meantime, follows behind girl, stretching out right and left hand alternately,
as though they were trying to catch the free end of the handkerchief.

The 8th and last figure is “Flirting”. Start by taking two waltz steps to
meet at the center. With girl leading in front, partners take six waltz steps forward
moving around clockwise.

Carinosa Steps
· The basic footwork is similar to the steps used in a waltz: You move around the
floor by stepping to the side with your left foot, then moving your right foot next to your
left. You finish off this series of three movements by tapping your left foot on the floor.
Repeat this sequence of steps, this time beginning by stepping to the side with your
right foot.

Spins are another fundamental element of carinosa. They take up the last two bars of
an eight-bar sequence. If you're the male half of the dancing pair, you either fold your
hands behind your back or put your hands on your hips. The best way to think of this
modified hands-on-hips pose is to make sure your thumbs point inward toward your
waist and your knuckles rest on your love handles, even if you don't have them. If you're
the female, hold your skirt up a few inches off the floor by taking each side of your skirt
between your thumb and forefinger. You can either do two turns, one for each three-
beat bar, or one turn on the first three-beat bar. For the latter, you simply stand still for
the last three-beat bar. You'll always turn to the right.

Carinosa Props
· Female carinosa dancers often use fans. If you're the female dancer, you open
your fan by giving it a firm shake. Once it's open, simply fan yourself to the music,
matching each downward movement of the fan with one beat in the three-beat bar.

The handkerchief hide-and-seek is a key element of carinosa. Each partner holds two
corners of the handkerchief and stand facing each other, holding the handkerchief so it
blocks the view of the other partner's face. On the first beat of the three-beat musical
bar, both partners lean to the right side and peek at each other around the
handkerchief. They hold for a beat, then, on the third and final beat of the bar, they
return to an upright position, holding the handkerchief so it is blocking the faces again.
On the first beat of the next bar, the partners flip the handkerchief while still holding it,
so if one partner had been holding the top two corners, he's now holding the bottom two
corners, or vice versa. As they do so, they lean to the side and peek at the other partner
around the handkerchief again. This series of movements continues for six bars in total;
for the last two bars of the eight-bar section, the partners switch places by waltzing
around each other while still holding the handkerchief. This entire sequence repeats.
The hide-and-seek sequence can be performed with a fan instead of a handkerchief.

The female dancer of the carinosa pair holds her skirt with one or both hands, pinching
the fabric of the skirt with the thumb and forefinger, at the side, at about mid-thigh level.

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 Learning Activities
ACTIVITY NO. 1 COMPLETION TEST

Directions: Complete the statement below as concisely as possible. Write your

answers on the space provided. Each item is worth 5 points.

1.I learned that folk dance is_______________________________________________

2. After studying folk dance, I’ve realized that_________________________________

3. I will apply my learnings about folk dance through___________________________

ACTIVITY NO. 2 IDENTIFICATION

Directions: Identify the following statement below and write your answer on the blank
before the number. Each item is worth two (2) point.

________________1. Recorded as the oldest activity among the Christianized Filipinos.

________________2. It a period that dancing played important part of the social

activities of our ancestors.

________________3. Considered as the principal past time of the Filipino people

during the past centuries.

________________4. This dance was blended with Western and other European
countries during the 16th century.

________________5. This dance was performed when the earth caked from drought so
that the divine entities might take pity on them.

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Activity No. 3 DANCE TERMS IN PHILIPPINE FOLK DANCE

Directions: Below are the statements on how a dance term is executed. Identify what
term is asked in every item. Write your answer after the question/stem.

_________________1. To displaced quickly one foot with the other, this is completely
taking off the weight of the body from the displaced foot.

_________________2. To pull one foot along the floor close to the order foot which has
the weight of the body.

_________________3. To flourish of offer a handkerchief, hat, and glass of wine to

somebody as a sign of invitation.

_________________4. An Ilocano term of moving the hand from the wrist in any
direction.

_________________5. To spring from one-foot landing on the other foot in any

direction.

_________________6. To put foot on a certain or desired position without putting

weight on it.

_________________7. To turn with the ball, heel, or whole foot on a fixed place.

_________________8. To glide foot smoothly along the floor.

_________________9. To bring down the foot forcibly and noisily on the floor.

_________________10. To make fast turns by executing small steps in place to right or

left.

Activity No. 4 DANCE PERFORMANCE

Directions: Perform the Philippine National folk dance (Carinosa) using the given
literature which can be found on pages (). You are free to choose your partner either
your friend or family member thru a video footage which will be submitted to your
instructor. During your performance you may wear your P.E uniform or any flexible attire
or the dance attire itself. For the dance music you may use the link given below. You will
be rated according to criteria presented below.

https://www.youtube.com/watch?v=1pjFvomY958 (Carinosa Audio Only)

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 Rubric in Rating a Philippine Folk Dance

Indicators Rating

Dance Interpretation (40%)

Form and Style (20%)

Coordination/Teamwork (20%)

Spontaneity (15%)

Costume/ Materials (5%)

Total:

Activity No. 5 TYPES OF DANCES

Directions: Identify the following popular folk dances in the Philippines through a
jumbled letters. Each correct answer is equivalent to two (2) points.

1. ESABLE
This dance was performed after the lutrina ( a religious procession) and
the music that accompanied the dancers was played by the musikong bungbong
(musicians using instruments made of bamboo).
2. KNIKLITG
The dance imitates the movement of the tikling birds as they walk between grass
stems, run over tree branches, or dodge bamboo traps set by rice farmers. Dancers
imitate the tikling bird's legendary grace and speed by skillfully maneuvering between
large bamboo poles.

3. LAMGALTIAK
It was originally performed in Biñan, Laguna as a mock-war dance that
demonstrates a fight between the Moros and the Christians over the prized latik or
coconut meat during the Spanish rule, this dance is also shown to pay tribute to the
town’s patron saint, San Isidro Labrador.

4.KISLING
This dance was originated from Maranao which means the repertory of all Filipino
dance troupes. In 1958 the Bayanihan Dance troupe started with a simple version and
has since developed it into a theatrical and stylized spectacle to the point of its
becoming the troupe's signature piece.

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5. DANGPANOG AS LIWA
This dance comes from the Spanish dance “fandango”characterized with lively
steps and clapping while following a varying ¾ beat. It requires excellent balancing skill
to maintain the stability of three tinggoy, or oil lamps, placed on head and at the back of
each hand. This famous dance of grace and balance originated from Lubang Island,
Mindoro.

6. ISECSOT
It is popularly known in Capiz and is performed in any social gathering of the
people inhabiting the mountains of Capiz in the barrios of Tinpas and Panitan and also
in the town of Panay.

7. GANAB
This dance is a contemporary performance of Kalinga of the Mountain Province
in the Philippines. This dance illustrates the languid grace of a tribe otherwise known as
fierce warriors.

8. TIKITIKI
This dance was originated from Surigao del Sur, in which the movements of a duck
are imitated.

9. ASUTRAT
It is highly favored by the Waray people of the Eastern Visayan region in the
Philippines. Strictly speaking, this dance must be done the amenudo; that is, only one
couple dances it at a time.

10. NIDAKANG
Performed at Tausog weddings in Jolo, this dance consists of figures and steps
based on classical and traditional Indian dance forms. Dancers perform with slightly
bent knees turned outward, fingers held stiffly together with the thumb outward and
apart.

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References

Textbook:

Tullo D. (2008). Physical Education 2 for College. Cacho Hermanos, Inc. Pines Cor.
Union Sts. Mandaluyong City.

Websites:

http://www.ehow.com/way_5434282_carinosa-dance-steps.html

https://www.slideshare.net

https://feu.instructure.com

Pictures:

https://www.google.com/search?q=dance+photo+collage+about+philippine+folk+dance

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