8

Special Program in the Arts

(Dance 8)
Quarter 1 – Module 5:
Local/Regional Dances
Special Program in the Arts – Dance 8
Alternative Delivery Mode
Quarter 1 – Module 5: Philippine folkdance (Local/Regional )
First Edition, 2020

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Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Rodrigo V. Talingting, Jr., Melnor T. Langurayan
Editors: Carla Anna T. Maglantay
Reviewers: Noriel C. Seville, Rebecca R. Ibarreta,
Management Team: Ma. Gemma M. Ledesma, Josilyn S. Solana, PhD, Elena P.
Gonzaga, PhD, Donald Genine, PhD, Athea V. Landar, PhD, Miguel Mac D. Aposin,
EdD, Jose Niro R. Nillasca, Dobie P. Parohinog, PhD, Rebecca R. Ibarreta, Mahnnie
Q. Tolentino

Printed in the Philippines by ________________________

Department of Education – Region VI

Office Duran Street,Iloilo City________________________________________

Address:

Telefax: ___(033)493-0352____________________________________________
E-mail
Address: [email protected]__________________________________________
 8
SPA – Dance 8
Quarter 1 – Module 5:
Philippine folkdance
(Local/Regional Dances):
Introductory Message
For the facilitator:

Welcome to the SPA - Dance 8 Alternative Delivery Mode (ADM) Modules on

(Philippine folkdance (Local/Regional Dances)!

This module was collaboratively designed, developed and reviewed by educators

both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration
their needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies
that will help you in guiding the learners.

As a facilitator, you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to
manage their own learning. Furthermore, you are expected to encourage and assist
the learners as they do the tasks included in the module.

For the learner:

Welcome to the SPA – Dance 8 Alternative Delivery Mode (ADM) Module on

(Philippine folkdance (Local/Regional Dances)!

This module was designed to provide you with fun and meaningful opportunities
for guided and independent learning at your own pace and time. You will be
enabled to process the contents of the learning resource while being an active
learner.
This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in
the module.

This part includes an activity that aims to

What I Know check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.
What’s In
This is a brief drill or review to help you link
the current lesson with the previous one.
What’s New
In this portion, the new lesson will be
introduced to you in various ways; a story, a
song, a poem, a problem opener, an activity
or a situation.
What is It
This section provides a brief discussion of
the lesson. This aims to help you discover
and understand new concepts and skills.
What’s More
This comprises activities for independent
practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.

What I Have Learned This includes questions or blank

sentence/paragraph to be filled in to
process what you learned from the lesson.
What I Can Do
This section provides an activity which will
help you transfer your new knowledge or
skill into real life situations or concerns.
Assessment
This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.
Additional Activities
In this portion, another activity will be given
to you to enrich your knowledge or skill of
the lesson learned.
Answer Key
This contains answers to all activities in the
module.

5
At the end of this module you will also find:

References This is a list of all sources used in

developing this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part
of the module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other
activities included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your
answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with
it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you
are not alone.

We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies. You can do it!

6
 What I Need to Know

This module was designed and written for you to know the different
local/regional folk dances in the Philippines. You will be provided activities that
will lead you to understand the elements of dance such as time, rhythm and
space and movements of local dances for your performance activity. Other
activity will be provided to inspire you to demonstrate and master the basic
steps of Kiriwkiw and Beneracion. It enables you to enhance your dancing skills
and motivate you to show and share the steps to be learned. The scope of this
module permits it to be used in many different learning situations. The
language used recognizes the diverse vocabulary level of students.The lessons
are arranged to follow the standard sequence of the course. But the order in
which you read them can be changed to correspond with the textbook you are
now using.

This module is consisting one lesson only:

Module 5 Philippine Folkdance (Local/Regional and National)

Lesson 1 – Local/Regional Folk Dances

Suggested dances:
a. Kiriwkiw
b. Kuratsa Boholana

After going through this module, you are expected to:

1. Identify the different local/regional folk dances.

2. Describe the nature and background of the selected dances.
3. Learn the basic steps and perform the skills involve in a dance presentation.

7
 What I Know
D

Direction: Name and identify the place of origin of the following regional/local folk
dances found in the Philippines.

Place of Origin
Folk Dances Name
(Luzon,Visayas, Mindanao

8
Lesson
Philippine folkdance
1 (Local/Regional Dances)

Folk dances are dances that occur in a particular area and are a part
of local or regional culture. They are a part of ethnic or regional practice for social
occasions and celebrations all over the world.
Regional Dances are those that developed from a community within a
locality, province or region or coming from particular ethno linguistic group within
a region of the country.

What’s In

Answer this question briefly:

1. What do you think are the benefits that can be gained in performing folk
dance?

___________________________________________________________________________
____________________________________________________________________________
______________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________

9
 What’s New

Direction: Look at the pictures below and answer the questions briefly. Use a
separate sheet of paper.

1. What general concept can be derived to the given pictures? Explain.

__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

2. Just by simply looking at their costumes and props, can you give the place of
origin of these dances?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

10
 What is It

Kiriwkiw
Dance Researcher : Edwin R. Masangcay
Resource Person : Edwin R. Masancay
1993 National Folk Dance Workshop

Meaning : Shake or shaking

Dance Culture : Christian Lowland
Place of Origin : Polo, Ibajay, Aklan
Ethnolinguistic Group : Aklanon
Classification : Festival

Background / Context:

Kiriwkiw comes from a local word of Aklan kiriw which means shake or shaking.
Thus Kiriwkiw may mean shaking of the hands, legs and body of the performers
as they dance rhythmically around the dance hall.

This dance originated from Ibajay, Barangay Polo, Municipality of Ibajay,

Province of Aklan. It is a popular among old folk, noted among them, Tay Ingoy
and Nay Coro Maquirang Barangay Polo.

This dance made a couple so popular with invitation from other towns of Aklan
that glorifies the vivance of life among the folk in Ibajay with 36 Barangay. The
basic figure of this dance is a variation of dance escotis of the interior barangay
of Ibajay. The music has its origin from the leaf instrument played by leaf
instrument played by lips and was later refined and interpretedby a popular
orchestra of Ibajay. The dance popularly requested in weedings, fiestas and
merry gatherings of old folks. It is performed with energetic, quick body
movements such that the feet and hand are always actively in action.

11
Dance Properties:

Costume
Female patadyong and camisa with bell shaped sleeves.
Male camisa de Chino and colored trousers
Music 2/4 composed of two parts A and B
Count One, and, two, and to a measure
Formation Partners are opposite each other about six feet apart.
When facing audience, Girls are at right side of Boys.
Basic dance steps:
Change step - Step, Close, Step
Ct 1 and 2

Close step Step, Close

Ct 1 2

Chasing step Successive close steps to any directions with one

foot leading.

Escotis step Step, Close, Step, Hop (raise 1 ft in front)

Ct 1 2 3 4

KURATSA BOHOLANA

KuratsaBoholana is another lively dance that originated from Bohol.

Kuratsa is very popular in the Philippines, especially among the Visayan and
Ilocanos. In the old days no social gathering was complete without this dance.
Expert and skillful dancers sometimes make their own combination of steps and
movements on the spot amidst the cheers and applause of the onlookers.

COSTUME.
12
 Girl wears patadyong, camisa with stiff sleeves or kimona, and a soft
kerchief over one shoulder;
Boy wears barong tagalog and trousers of any color.

MUSIC is divided into five parts: A, B, C, D, and E.

COUNT one, two, three to a measure.

FORMATION. Partners stand opposite each other about six feet apart, Girl
standing at partner's right side when facing audience.

Basic dance steps:

Do-si-do - partners are facing each other. Starting with R foot,
take 3 walking steps forward to partner’s place passing
each other by the R shoulders; step the L foot across the
R foot across the R foot in front; without turning around,
take three walking steps backward, to proper place.
Close L foot to R.

Waltz - Step, Close, Step

Ct 1 2 3

What’s More

Direction: Watch the video of Kuratsa Boholana and Kiriwkiw dance.

Describe the elements of dance below.
Watch:
www.youtube.com/watch?v=iP5UVI-phkU

www.youtube.com/watch/v=D_K9XX01_bc

1. Describe the time (tempo) of each dance.

__________________________________________________________________________________

2. Describe the rhythm each dance.

__________________________________________________________________________________

3. How do the dancers move through the space in terms of direction and
groupings?
__________________________________________________________________________________
4. Were the movements of the dance forceful, graceful, slow or fast?
_______________________________________________________________________________

13
 What I Can Do

Direction: This activity will help you check your knowledge of the basic rhythm,
time, space and movements from selected folk dances.

1. Perform the dance steps correctly in Figure 1-3 of Kiriwkiw dance.

2. Execute the dance steps correctly in Figure 4-5 of Kuratsa Boholana
3. Perform the whole dance properly with music accompaniment.
4. Record yourself in performing the activity and need to be sent in our group
chat.

What I Have Learned

Direction: Complete the unfinished statement.

1. I learned that _________________________.

2. Folk dance costumes tell about __________________________.
3. Folk dances differ in _________________ because ____________________.
4. _________________ can be a way to enhance individuals ________________.
5. I feel I am ______________________ in performing folk dances.
6. Folk dances are beneficial to one’s health because ___________________.

14
 Assessment

Direction: Perform the following local dances as basis of your performance.

Record a video while performing the activity and submit through flash drive.

Kiriwkiw
Dance Researcher : Edwin R. Masangcay
Resource Person : Edwin R. Masancay
1993 National Folk Dance Workshop

Meaning : Shake or shaking

Dance Culture : Christian Lowland
Place of Origin : Polo, Ibajay, Aklan
Ethnolinguistic Group : Aklanon
Classification : Festival

Background / Context:

Kiriwkiw comes from a local word of Aklan kiriw which means shake or shaking.
Thus Kiriwkiw may mean shaking of the hands, legs and body of the performers
as they dance rhythmically around the dance hall.

This dance originated from Ibajay, Barangay Polo, Municipality of Ibajay,

Province of Aklan. It is a popular among old folk, noted among them, Tay Ingoy
and Nay Coro Maquirang Barangay Polo.

This dance made a couple so popular with invitation from other towns of Aklan
that glorifies the vivance of life among the folk in Ibajay with 36 Barangay. The
basic figure of this dance is a variation of dance escotis of the interior barangay
of Ibajay. The music has its origin from the leaf instrument played by leaf
instrument played by lips and was later refined and interpretedby a popular
orchestra of Ibajay. The dance popularly requested in weedings, fiestas and
merry gatherings of old folks. It is performed with energetic, quick body
movements such that the feet and hand are always actively in action.

Dance Properties:

Costume
Female patadyong and camisa with bell shaped sleeves.
Male camisa de Chino and colored trousers
Music 2/4 composed of two parts A and B
Count One, and, two, and to a measure
Formation Partners are opposite each other about six feet apart.
When facing audience, Girls are at right side of Boys.

15
 INTRODUCTION

Music Introduction.
Partners face each other, Join hands.
(a) Take two change steps sideward right and left, twist trunk
to the right (1M) and left (1M). Arms in second position………… 2M
(b) Face audience. Starting with the outside foot, take two skip
steps in place (ct 1,ah,2,ah); place inside arm around the
waist of partner, free hand of Boy on waist and Girl hold skirt…… 1 M
(c) Take one close step outward (ct. 1,and), face partner and
bow (ct.2), back to position (ct.and) ……………………………….. 1M

I
Music A.
Hold partner in Open Ballroom position with R hand of Boy under
the L elbow of Girl.
(a) Starting with the outside foot, take three chasing steps forward
(cts.1, and,2; 1,and), scratch the inside foot backward and
step the outside foot forward (cts.2 and)…………………………. 2M
(b) Release hold and starting with the inside foot, take three step
hops turning outward in place (cts.1,and,2,and; 1,and),
face partner (cts.2, and) …………………………………………… 2 M
(c) Repeat (a) and (b), facing away from audience ………………… 4M
(d) Repeat all (a-c) …………………………………………………….. 8 M

II
Music B.
Partners face each other.
(a) Change step sideward right and left, arms in reverse “T” position, kumintang
hands outward and arms in “T” position, kumintang hands inward……2 M
(b) Hop on R foot eight times, arms in second position, bend trunk
slightly to the right (2M). Shake hands from the wrist on every
count ……………………………………………………………………………. 2 M
(c) Starting with the L foot, take two change steps to partner’s place
passing L to L shoulders, arms as in (a) …………………………. 2M
(d) Repeat (b) hopping on L ……………………………………………. 2 M
(e) Repeat all (a-d) starting L ………………………………………….. 8 M

III

Music A.
Partners in open ballroom position facing audience.
(a) Starting with the outside foot, take one escotis step forward,
stretch outside arm forward with trunk bending towards
stretched arm……………………………………………………….. 1 M
(b) Repeat (a) with the inside foot backward , bend stretched
arm at chest level …………………………………………………. 1 M
(c) Join R hands and take four step-hops clockwise to quarter turn 2M
(d) Repeat (a-c) three times more. Finish facing partner ………… 12 M

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 IV

Music B.
Partners face each other.
Gir:
(a) With feet in third position, sway hips sideward left and right,
arms in “T” and reverse “T” position on every measure ………. 2M
(b) Repeat (a) with arms in fourth position, kumintang outward,
shake hands on R and L arm high ………………………………. 2 M
(c) Quarter turn right and repeat all three times more …………… 12 M
Boy:
(d) Take two change steps obliquely forward left to center, arms
as in (a) of Girl ……………………………………………………… 2 M
(e) Repeat (a) in place ………………………………………………… 2 M
(e) Repeat (a) three times more moving clockwise around girl …… 12 M

Music A.
Partners face audience. Bends as in (b) of introduction.
(a) Change step forward with the outside foot ……………………. 1 M
(b) Repeat (a) with inside foot backward ………………………….. 1 M
(c) Take eight step-hops starting with the inside foot clockwise,
raise outside leg forward, bend knees slightly and toes pointing
inward………………………………………………………………. 2M
(d) Repeat (a-c) three times turning counterclockwise, clockwise and
counterclockwise alternately ……………………………………. 12 M

VI

Music A.
Partners face each other.
(a) Repeat (a) of introduction ………………………………………… 2 M
(b) Hold partner in ballroom position (B-L hand on waist; R hand
of Girl on shoulder) extend R leg forward and hop on L eight
times ……………………………………………………………….. 2M
(c) Repeat (a) and (b) starting L ……………………………………. 4 M
(d) Repeat all (a-c)……………………………………………………. 8M

Finale

Music A.
Boy faces audience, Girl faces away audience. G holds skirt, B places hands
on waist.
(a) Starting with the inside foot, take two change steps sideward ……..2 M
(b) Face partner and join R hands. Girl take two-hops turning right
to face opposite direction……………………………………………….1 M
(c) Boy kneels on L, Girl sits on R knee, join R hands at waist level
and L arm extended sideward ………………………………………….1 M

17
 KURATSA BOHOLANA

KuratsaBoholana is another lively dance that originated from Bohol.

Kuratsa is very popular in the Philippines, especially among the Visayans and
Ilocanos. In the old days no social gathering was complete without this dance.
Expert and skillful dancers sometimes make their own combination of steps and
movements on the spot amidst the cheers and applause of the onlookers.

COSTUME. Girl wears patadyong, camisa with stiff sleeves or kimona, and a
soft kerchief over one shoulder; . Boy wears barong tagalog and trousers of any
color.

MUSIC is divided into five parts: A, B, C, D, and E.

COUNT one, two, three to a measure.

FORMATION. Partners stand opposite each other about six feet apart, Girl
standing at partner's right side when facing audience.

INTRODUCTION

Music Introduction

Partners face each other. Execute a three-step turn right

in place (1 M), feet together and bow to each other (1 M). Arms down
at sides when turning and open in second position when bowing.......2 M

I
Music A.

Partners face each other.

(a) Do-si-do. Starting with R foot, take five steps forward, passing
by R shoulders (5 cts.) and five steps backward, passing by L
shoulders
(5cts.), feet together and pause (2 cts.). Arms down at sides,
swinging naturally........................................................................ 4M
(b) Repeat (a), passing by L shoulders first........................................ 4M
(c) Starting with R foot, take four steps forward to be in line with each
other at center by L shoulders, arms swinging naturally at sides
(cts. 1, 2, 3, 1). Transfer weight to R foot in rear (ct. 2), transfer
weight to L foot in front (ct. 3). R arm overhead, L hand on waist
on cts, 2, 3 when transferring weight............................................. 2M
(d) Starting with R foot, take four steps forward to partner's place
(cts. 1, 2, 3, 1), two-step turn right about to face partner (cts. 2, 3).
Girl holds patadyong, Boy places hands on waist........................ 2M
(e) Repeat (c) and (d), partners stand by R shoulders at center.
Same arm positions. Finish in proper places............................... 4M

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 II
Music B.

Partners face each other.

(a) Waltz sideward, R and L alternately, four times. Start with forearm
turn R to reverse "T" position and I, hand on waist. Reverse position
of arms at every measure.............................................................. 4M
(b) Take one waltz turn right going toward partner's place, passing by L
shoulders (using two waltz steps) (2 M) and one waltz step forward
to partner's place and finish with back toward partner (1 M). Hands
as in fa) for 3 M. Execute a cross turn right about to face each other
(L foot across the R when turning) salok with L hand, R arm overhead
(1 M) ............................................................................................. 4M
(c) Repeat (a) and (b). Finish in proper places..................................... 8M
(d) Repeat all (a-c) …............................................................................ 6M

III

Music C.

Partners turn R shoulders toward each other.

(a) Starting with R foot, take eight waltz steps forward moving
clockwise. Arms as in Figure II (a)................................................. 8M
(b) Turn right about. Repeat (a) moving counterclockwise.
Finish facing each other................................................................ 8M

IV
Music D.

Partners face each other and do their movements simultaneously.

Girl

(a) Starting with R foot, take two waltz steps forward to center.
Arms in lateral position, moving sideward right and left................ 2M
(b) Waltz sideward, R and L. Arms as in (a)....................................... 2M
(c) Turn right about. (Repeat (b)........................................................ 2M
(d) Repeat (a) going to proper place................................................. 2M
(e) Repeat Boy's movement in (a) below.............................................. 8M
(f) Repeat all (a-d).............................................................................16M

Boy

(a) Starting with R foot, take eight waltz steps forward moving
around Girl clockwise. Start with R hand in front at chest level
with palm up, as if pleading, L hand on waist. Reverse position
of hands at every measure ....................................................... 8M
(b) Repeat Girl's movement (a-d) above......................................... 8M
(c) Repeat all (a and b) ............................................................. 16M

19
Music D.

Partners face each other.

(a) Step R sideward and twist body slightly to right (cts. 1, 2),
step L close to R (ct. 3). Step R sideward (cts. 1, 2), hop on R
(ct. 3). R arm in revers "T" position, L hand on waist.................. 2M
(b) Repeat (a), starting with L foot and twist body slightly to left.
Reverse position of arms............................................................ 2M
(c) Waltz turn right to finish in one line at center, facing each other
with Girl's back toward front and Boy facing front. Arms as in (a),
reversing position at every measure....................................... 2M
(d) Waltz sideward, R and L. Arms in lateral position, moving sideward
right and left............................................................................... 2M
(e) Repeat (a) and (b)..................................................................... 4M
(f) Starting with R foot, take two waltz steps forward to proper places.
Arms as in (a)............................................................................. 2M
(g) Waltz turn right about to face partner. Arms as in (a)................. 2M
(h) Repeat all (a-g)...........................................................................16M

VI
Arte-Arte
(Vivacious Improvisations)
Music E.

Partners do their movements simultaneously.

Boy
a) Raise and step R foot obliquely forward right (cts. 1, 2, 3).
Repeat three more times L, R, L, moving obliquely forward left
and right alternately, going to front of Girl (3 M). R and L
forearm turn alternately finishing with knuckles down four times,
free hand down at side................................................................... 4M
(b) Execute a slow waltz turn right in place in front of Girl (use four waltz
steps). Arms as in (a). Finish facing Girl..................................... 4M
(c) Kneel on R. Forearm turn to reverse "T" position, R and L alternately,
four times, other hand on waist................................................... 4M
(d) Clap hands on cts. 1, 3 of every measure, sideward right and left
alternately, three times (3 M), clap once at left side (ct. 1), pause,
(cts. 2, 3)....................................................................................... 4M

Girl

(a) Waltz sideward, R and L. Arms in lateral position, moving sideward

right and left.................................................................................. 2M
(b) Execute a three-step turn right (cts. 1, 2, 3), point L in front
(cts. 1, 2, 3). R arm in reverse "T" position, L bent forward at
shoulder level............................................................................... 2M
(c) Repeat (a) and (b), starting with L foot. Reverse position of
arms.......................................................................................... .. 4M
(d) Step R sideward (ct. 1), brush L forward (ct. 2), step L close R
(ct. 3, step R sideward (ct. 1), brush L forward (cts. 2, 3),
Arms as in (b).............................................................................. 2M
(e) Repeat (d), starting L foot. Reverse position of arms................. 2M
20
 (f) Repeat (d) and (e)...................................................................... 4M

SALUDO
(Bowing)

Music Finale

(a) Partners join both hands. Girl helps Boy to stand up .................... 2M
(b) Drop hands. Execute a three-step turn right in place (1 M),
feet together and bow to each other or audience as in Introduction
(1 M) ............................................................................................. 2M

DANCE ASSESSMENT RUBRIC

Criteria Exceeds Fully Meets Meets Not Yet Within
Expectations Expectations Expectations Expectations
(minimal level)
Creative Develops a dance Develops a dance Develops a dance Develops a dance
Dance sequence that is sequence that is sequence that is sequence that is
creative, creative, not very creative, uncreative,
Sequence
complete and complete and incomplete and incomplete and
displays lots of displays some displays little displays no effort
effort and effort and effort and or practice.
practice. practice. practice. OR
 displays many  displays some  displays few Does not develop
elements of body elements of body elements of body a dance
and space and space and space sequence.
awareness, awareness, awareness,  no attention to
qualities and qualities and qualities and elements
relationships relationships relationships  sequence is
 sequence is  sequence is  sequence is often different each time
consistent all of consistent most of inconsistent
the time the time
Group Works very well Works very well Works very well Did not work well
Work all of the time. with most of the some of the time. with their group.
 contributes lots of time.  contributes few  contributes no
ideas  contributes some ideas ideas
 contributes ideas  displays
suggestions for  displays impatience more
modification impatience at one than once
 displays patience time

Dance Always able to Mostly able to Sometimes able Rarely able to

Terminology / explain or explain or to explain or explain or
Positions / demonstrate demonstrate demonstrate demonstrate
dance terms, dance terms, dance terms, dance terms,
Steps and
positions, steps positions, steps positions, steps positions, steps
Directions and directions and directions and directions and directions
with no errors. with few errors. with some errors. with many errors.

21
  understands and  understands and  understands and  understands and
follows all dance follows most dance follows some follows few dance
terms and terms and dance terms and terms and
directions given directions given, directions, directions, always
 knows all new watches others at watches others watches others
positions and times often  knows few new
steps  knows most new  knows some new positions and steps
 accurately positions and steps positions and  accurately
performs all  accurately steps performs few dance
dance steps with performs most  accurately steps, always
ease dance steps, performs some struggles and looks
struggles at times dance steps, overwhelmed
struggles often
Choreographed Performs Performs Performs Performs
Sequences / complete dance complete dance complete dance complete dance
Overall with lots of with some with little with no
confidence and confidence and confidence and confidence or
Performance
enthusiasm, enthusiasm, enthusiasm, enthusiasm,
making few making some making many making constant
errors. errors. errors. errors.
 performs all  performs most  performs some OR
sequences from sequences from sequences from Does not perform
memorization memorization memorization complete dance.
 rarely needs to  sometimes needs to  mostly needs to  unable to perform
follow instructor follow instructor follow instructor any sequences
 always  sometimes  rarely from memorization
demonstrates demonstrates demonstrates  always needs to
enthusiasm by enthusiasm by enthusiasm by follow instructor
showing energy in showing energy in showing energy in  never
movements and movements and movements and demonstrates
giving their best giving their best giving their best enthusiasm

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 Answer Key

What I Know
1. Singkil - Mindanao
2. Maglalatik - Luzon
3. Sayaw sa Bangko- Luzon
4. Tinikling - Visayas
5. Itik-Itik - Mindanao

What’s In

(Answer may vary)

What’s New

(Answer may vary)

What’s More

(Answer may vary)

What I Can Do

Performance-based (Video Recording)

What I Have Learned

(Answer may vary)

Assessment

Performance-based (Video Recording)

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References

BOOKS

Government of the Philippines, National Commission for Culture and the

Arts SANAYGURO Dance Module 2016

www.studycom>ArtandDesign>History of dance
www.slideshare.net>mxyzl19>folk-dance-in-each-region

www.slideshare.net>berroh II>local-and-indigenous

www.youtube.com/watch?v=iP5UVI-phkU

www.youtube.com/watch/v=D_K9XX01_bc

For inquiries or feedback, please write or call:

Department of Education - Bureau of Learning Resources (DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex

Meralco Avenue, Pasig City, Philippines 1600

Telefax: (632) 8634-1072; 8634-1054; 8631-4985

Email Address: [email protected] * [email protected]

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