Parosa Research Final

PHILIPPINE NORMAL UNIVERSITY
The National Center for Teacher Education

Institute of Physical Education, Health, Recreation, Dance, and
Sports
National Commission for Culture and the Arts
Department of Education
PAROSA: A PREVIEW OF YBANAG CULTURE
A Research Proposal
Presented to
The DTAD Faculty
In Partial Fulfillment
Of the Requirements for the
Diploma in Teaching Arts Major in Dance (DTAD- 108)
Ryan T. Pengco
Resty M. Baradi
Rex C. Delos Reyes
Renz Carlo C. Cardenas
Mark Yves D. Villavert
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TABLE OF CONTENTS
Pages
Title Page ………………………………………………………………………....... i
Table of Contents ………………………………………………………………….. ii
List of Plates ………………………………………………………………………. iii
Appendices ………………………………………………………………………… iv
CHAPTER 1: THE PROBLEM AND LITERATURE REVIEW

1.1 Background of the Study ……………………………………………… 1 -2
1.2 Literature Review ……………………………………………………... 3 - 5
1.3 Research Problems ……………………………………………………. 5 - 6
1.4 Theoretical or Conceptual Framework ………………………………... 6 - 8
1.5 Scope and limitation …………………………………………………... 9
1.6 Definitions of Terms …………………………………………………... 9
CHAPTER 2: PROCEDURES
2.1 Qualitative Design and Methodology …………………………………. 10
2.2 Research Site …………………………………………………………... 10 - 12
2.3 Selection Criteria and Participants …………………………………..…. 12 - 13
2.4 Data Collection …………………………………………………………. 13
2.5 Role of Researcher ……………………………………………………… 14
2.6 Methods of Validation ……………….………………………………….. 14
2.7 Potential Ethical Issues ………………………………………………….. 14
References …………………………………………………………………………… 15
Appendices ……………………...…………………………………………………… 16
Curriculum Vitae
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CHAPTER 1
THE PROBLEM AND LITERATURE REVIEW
1.1 BACKGROUND OF THE STUDY
Philippine folk dances are as old as the history itself which at present generation are
rarely seen. Folk dances are important because they preserve the Philippine culture and pass it
on to the next generation. They are a uniting force to the Philippine people.
The Ibanags are one of the ethnolinguistic groups in Cagayan Valley, including the
Ilocanos, Ifugaos, Kalingas , Gaddangs, Yogads, Itawes, Kankanaey and all others inhabiting
the provinces of Cagayan, Isabela and Nueva Vizcaya. However, it is a fact that the Ibanag is
likely to be unpopular as compared to the widely known Ilocanos, and the well documented
Ifugaos and Igorots.
Interestingly, Ibanag is a term referring to both the people and the language. The Ibanag
people being the original settlers of Cagayan Valley are also called Ibanak and Ybanag and
considered original inhabitants of Isabela with Gaddangs, Yogads and a few Aetas. (Gatan,
1981).
In a survey conducted by Jocano (1996) on the distribution of Filipino ethnic
communities, it showed that there were only few ethnographic studies made in Ibanag.
This triggered the researchers to add into the body of knowledge specially in the IP
community by documenting the dance historically owned by the ybanags.
The Ibanags being natives of Cagayan Valley, were a religious people, with their own
form of worship like dancing and drinking in honor of the anitos. They too had their religious
feasts, celebrated with great joy and feasting. (Salgado, 2002).
Parosa as an Ibanag term which refers to an inherited tradition of the Ibanag from their
ancestors, this is the time when people get together in the community center not only for
entertainment but together thank God for the generous blessings received for the past and years
ahead. It is usually done during visperas of their barangay fiesta in honor of their patron Saint
Santa Barbara. According to some old folks, parosa is a way of thanking the almighty for a
productive harvest, healthy living, and for good weather conditions for the past whole year.
The Parosa is a song and dance number which narrates the life of the Patron Saint, Santo
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Domingo. It is a hymn of praise (gozos, Spanish word for joys) exalting the heavenly protector
of the barrio. (Gatan 1981)
This study intends to promote and preserve the beauty and uniqueness of the Ibanag
dance as part of their own culture and tradition. Interestingly, the parosa is practiced in different
towns in Isabela where ybanags live. This piece of work will look into the similarities and
differences of the parosa dance in the different towns of Isabela namely Angadanan, Ilagan and
Cabagan.
Dance authorities, educators, and enthusiasts need effective, innovative, and quality
means of documentation process to produce the best results or output. This research was
conducted with the aim that the results, evaluation, recommendations, and implications will
help the various segments of the education, community, and Philippine culture along with its
contribution to planning, development, and implementation.
The legal basis of this study was anchored from Article 14, Section 18 of the 1987
Philippine Constitution entitled, Education, Science and Technology, Arts, Culture and Sports,
(De Leon & De Leon, 2014) which states that: "(1) The State shall ensure equal access to
cultural opportunities through the educational system, public or private cultural entities,
scholarships, grants and other incentives, and community cultural centers, and other public
venues. (2) The State shall encourage and support researches and studies on the arts and
culture."
Under Republic Act No. 8371 or the Indigenous People Rights Act (IPRA), the law
acknowledges that IPs and the ICCs have the right to special measures to control, develop and
protect their sciences, technologies and cultural manifestations, including their IKSP.
Pursuant to this mandate, the National Commission on Indigenous People (NCIP), the
primary government agency tasked to formulate the implement programmes, plans and policies
to promote and protect the rights and well-being of the ICCs and IPs, and the intellectual
Property Office (IPO), the main government agency that administers and implements rules
governing the
registrations of intellectual property rights applications, issued on October 28, 2016, Joint
Administrative Order No. 01, 2016 (JAO), which provided the rules and regulations on
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intellectual property rights application and registration protecting the IKSPs of the IPs and
ICCs.
Republic Act No. 10066. The drafting of the Omnibus Cultural Heritage Law,
otherwise known as the “PHILIPPINE CULTURAL HERITAGE ACT” aimed to provide for
the protection, preservation, and promotion of the nation's cultural heritage.
Republic Act No. 10533, entitled “An Act Enhancing the Philippine Basic
Education System by Strengthening Its Curriculum and Increasing the Number of Years
for Basic Education, Appropriating Funds Therefor and for Other Purposes,” otherwise known
as the “Enhanced Basic Education Act of 2013. Deped Order No. 35, s. 2016.
15.5 Curriculum Contextualization, Localization, and Indigenization Curriculum
contextualization is the process of matching the curriculum content and instructional
strategies relevant to learners. Student diversity requires that teachers always consider
individual differences in lesson planning and implementation. Teachers identify and
respond to opportunities to link teaching and learning in the classroom to the
experiences, interests, and aspirations of the wider school community and other key
stakeholders. By linking new content to the local experiences that are familiar to
students, learning will be more efficient for and relevant to them. The localization of
curriculum is an essential feature of the K to 12 Curriculum. The teacher’s guide and
learners’ materials may be modified to accommodate the unique contexts of a
particular locality. Deepening curriculum contextualization through indigenization is
essential for communities that have cultural practices that are different from the
majority of people in the same locality. Providing spaces for unique cultures in the K
to 12 Basic Education Program is a key strategy for student inclusion and ensuring
relevance of education processes for all learners. Teachers and school systems must
make sure that the members of the community participate in indigenization processes,
so that the curriculum will be accurate and faithful to the culture in consideration.
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1.2 LITERATURE REVIEW
Dance Heritage Coalition, Inc. (2006) stated that dance being the highest form of art
receives the least number of research outputs, merely, because of the lack of availability of
resources as well as very few individuals who are passionately want to do research and
documentation. The organization also noted that “with good record-keeping of the role of dance
in art and culture, scholars can better develop both the theory and the criticism that will ensure
dance’s place in the academe”.
Dance literature according to Aquino (1965) and Ramos (2003), should be composed
of the following: a) dance title which refers to the depiction of the nature of the dance; b)
historical background, refers to the synopsis of the dance; c) costume, the attire of the
performers which best represent nature, culture and its origin; d) time signature, refers to the
number of beats per measure; e) props, refers to the equipment or materials the performers are
using during their performance; f) dance steps, refers to the movement of the foot, arm and as
a whole their interpretation of the nature of the dance through bodily movements; and g) music
score, the music accompaniment written in the music sheet. Even up to now the outline of
writing dance literature by Aquino is being followed by the Philippine Folk Dance Society
(2016), all of their series from I to IX followed the outline introduced by Aquino.
John Dunn and Mollis Falt^ stated that Rhythms and dances play an important role in
the physical education programme for students with disabilities. Dance contains elements that
can satisfy the individual's need for recognition, satisfaction and creativity and can provide
opportunities to develop a sense of belonging and of adequacy. Many such youngsters have a
basic need to develop freedom of self-expression, skill in social interaction, and fundamental
movement patterns. Dance provides a medium through which these needs may be realized.
Beeman^ conducted a study on the effect of Badaga folk dance on selected physical
and physiological components among high school boys. For that purpose sixty male students
aged between 12 and 14 years were selected at random from Kotagiri, Government
Hr.Sec.School, Nilgiri District, TamilNadu. The subjects were divided into two equal groups,
namely, the experimental and control groups. The control group was not treated with any
training. However, the experimental group was treated with the Badaga folk dance for thirty
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minutes on alternative days; for six weeks continuously between 4 p.m. to 4.30 p.m. The initial
and final tests on the selected variables, such as speed, agility, pulse rate and breath holding
time were administered for both experimental and control groups. The result showed that
Badaga folk dance had significant effect on the improvement of speed, agility, pulse rate and
breath holding time.
Indigenous Peoples Education

In recognition of the right of indigenous peoples to culturally rooted and responsive
basic education, The Department of Education (DepEd)’s Indigenous Peoples Education
Curriculum Framework or IPED under order No. 32, s. 2015) aims to provide guidance to
school and other education programs as they engage with indigenous communities, like Aytas,
in contextualizing the K to 12 curriculum based on their respective educational and social
contexts. The framework is a result of a series of consultation with community elders, leaders
and implementers of community- based IPED initiatives.
The Philippine Constitution is committed to provide every Filipino a right to quality
education at all levels. It ensures to make quality education accessible to all where no child
will be left DepEd is using all of its resources to provide the needs for the formal education
system, DepEd is implementing rigidly Indigenous Peoples Education Program for all other
groups of indigenous peoples ( Lapuz, 2008).
Through the Philippine Government with the aid of some international labor
organizations has tried out in some parts of the country a culturally- responsive curriculum. It
has addressed the conditions of the indigenous peoples and has come up with a central
enhanced basic curriculum as a mechanism, for realization of one among its ultimate
objectives, the inclusive education among marginalized groups.
The curriculum is open to the community’s teaching- learning processes
complementing with that developed by DepEd. The commitment of culture bearers and IKSP
holders to serve as knowledge managers in the teaching- learning process is recognized and
their participation as appropriate is encouraged. DepEd recognizes that the ancestral domain
where IKSPs are experienced, lived, and learned is the primary learning environmental and
learning space for indigenous learners. Community’s guidance shall be sought in designing
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learning activities involving places in the ancestral domain to maintain the wellbeing and
sacredness of the area.
The meaningful participation of indigenous communities in the indigenization of the
national curriculum shall be institutionalized through community engagement process,
mechanisms and activities mutually entered into by DepEd and the communities.
Contextualization
Contextualization paves the way to enhancing and facilitating the progress of student;s
academics. Teachers who contextualize teaching and learning observe good results, and attest
the contextualization in an indicator of high academic achievement because all instructional
strategies and experiences are within the interests of learners (Perin, 2011). The students do
not only learn content but also process when the teacher use indigenous strategies.
Indigenous or culture- based curriculum would enable learners reconnect to their
inherent culture and later rekindle the sense of identity and heritage. In the process, the learners
will appreciate and understand the ways of life of the people. It also allows the community to
assimilate new concepts and interact with self- confidence to other members of the society.
1.3 RESEARCH PROBLEMS
The research study aims to document the PAROSA Indigenous dance of Ybanag in
Cabagan, Isabela; specifically attempts to achieve the following objectives:
1. Document the Parosa dance of Angadanan, Cabagan, and Ilagan, Isabela in terms of the
following:
1.1 Historical background
1.2 Movement Patterns
1.3 Music
1.4 Costume
1.5 Props
2. Analyze the cultural implication of the dance in the lives the Ybanags in the different
towns of Isabela
3. Propose a literature of the dance for instruction purposes
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1.4 THEORETICAL or CONCEPTUAL FRAMEWORK
Because people are cultural beings, we live within a culture even if we do not recognize
it. As people learn most about their culture from their families and community (Pang, 2001),
different social groups develop specific ways of talking, behaving, and thinking. That is, when
people share the same culture, religion, geography, origin, and language, they have a shared
ethnic identity (Hsu, 1989; Phinney, 1990). Based on Tajfel’s (1981) definition, ethnic identity
is a part of an individual’s self-concept. People use their group memberships to understand the
world. Ethnic identity provides a way of understanding oneself. It not only defines who we are
but also helps us acknowledge “others” in separate ethnic groups. It is a concept of the self and
others (De Vos, 2006; Phinney, 1990).
For this study, we used Phinney’s (1989) description of different levels of ethnic
identity development. In identity diffusion, individuals are initially confused about their
identity. In identity foreclosure, individuals are socialized into their parents’ ethnic identity
without too much conflict. The first two levels are not relevant to a study of middle school
students. At the third level, identity moratorium, individuals question their ethnic identity and
hesitate to engage within in their ethnic group. At the last level, during identity achievement,
people appreciate their ethnic roles and identity. They devote themselves to ethnic activities
(Phinney, 1989; Phinney, Jacoby & Silva, 2007; Phinney & Ong, 2007).
Gay (1985) defines a three-stage paradigm for ethnic identity: preen counter, encounter,
and post-encounter. The first stage is the pre-encounter phase, in which individuals stay within
their own ethnic group and have limited knowledge of the majority group. The second is the
encounter phase in which individuals encounter prejudice and inequity regarding their ethnic
group when participating in the dominant culture. Here they begin to question their ethnic
identity. In the post-encounter phase, the problem of one’s ethnic identity is solved. People
become conscious of their ethnic identity as part of their self-identity and are proud to belong
to their ethnic group. If this positive self-identity does not develop, individuals stay in the
second stage and struggle with giving up their ethnic identity. Hornett (1990) found that when
minority ethnic group children go to school they learn the mainstream culture and may deny
their ethnic group, trying to pass as members of the dominant culture. As a result, minority
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children may develop negative attitudes toward their own ethnic group. However, Berry,
Phinney, Sam, and Vedder (2006) believe that adolescents who are confident in their own
ethnicity and proud of their ethnic group may be better able to deal constructively with
discrimination.
Phinney (1990) argued that people partially define their ethnic identity from people’s
attitudes toward their ethnic group, their sense of belonging, their cultural values and beliefs,
and their cultural practices. When people have positive attitudes toward their ethnic group, they
feel more attached to their heritage and are inclined to be involved in cultural activities. Berry
et al. (2006) suggest that when all people living in the society can find their culture represented
in the classroom and their heritage cultural practice maintained in public, it may lead a
successful acculturation. Portes and Rivas (2011) also point out that children could overcome
struggles through learning the mainstream culture while preserving their home country
language, value, and customs. That is, if children learn to appreciate their cultural roots and
affirm their ethnic identity, it would lead to successful acculturation adaption. Gay (2010) and
Ladson-Billing (1995) assert that when ethnically diverse students can be taught through
culturally relevant teaching, their academic achievement improves.
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Plate 1 From the inner core the framework moves to the outer level representing the
variables of the study. The dance will be analyzed based from its historical background,
movement patterns, music, costume and props.
Combining all of the above, a better understanding and appreciation of the Ybanag
culture through their indigenous dance can be perceived and conceptualized. This will be
manifested thru a proposed instructional material to be integrated in the grade 7 curriculum of
Physical Education.
N
Historical
Background
Historical
Background
PAROSA
Historical
Background
Plate 1. Different Versions of Parosa Dance

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1.5 SCOPE AND LIMITATION
This study is limited to the documentation of Indigenous Ybanag dance of Angadanan,

Cabagan and Ilagan, Isabela. This study is also covered the integration of the dance in the
development of instructional material based on the findings of the study. Respondents are
limited to ten (10) barangays of Angadanan, Cabagan and Ilagan, Isabela where the dance are
being performed during fiesta.
1.6 DEFINITION OF TERMS
The following terms are defined conceptually and operationally to give the readers of
this investigation a clearer understanding of the discussion of the text.
Culture. According to UNESCO, Culture is the complex whole which includes knowledge,
beliefs, arts, morals, laws, customs and any other capabilities and habits acquired by a member
of society. (www.unesco,org/new/en/social-glossary/cultural-diversity)
Ethnic Group. It is a group of people of the same race or nationality who share a common
distinctive culture (Lourdes Dulawan, 2005). As used in the study, it is the native of Aggub,
Cabagan, Isabela as possessing a common cultural heritage.
Mabbayle. To move one feet or body or both, rhythmically in a pattern of steps, especially to
the accompaniment of music.
Values. A person’s principles or standards of behavior, one`s judgement of what is important
in life.
Fiesta. An event marked by festivities or celebration
Pammabbalo. The expression of gratitude, especially to God
Simbang. A particular Christian organization, typically one with its own clergy, buildings and
distinctive doctrines
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CHAPTER 2
PROCEDURES
2.1 QUALITATIVE DESIGN AND METHODOLOGY
An ethnographic study is one that comes from ethnographic research, a qualitative

method where researchers completely immerse themselves in the lives, culture, or situation
they are studying. It will include participant observation, interviews, and movement analysis;
The study will include parosa dance of Angadanan, Ilagan and Cabagan Isabela. An
interview guide will be crafted to get information from key informants (elders, fiesta
organizers, parosa dancers, barangay officials and other old folks in every barangay)
Still cameras and videos will be utilized for documentation
Descriptive ethnographic research will be use in the study. Descriptive ethnographic
method of research is utilized when the person doing the research presents it in descriptive
manner focusing on the sociology of meaning through close field observation of a socio-
cultural phenomenon. (Fraenkel, 2014)
Portus, et.al (2018) defined qualitative research as a method of data or information-
generation, whereby researchers seek out the “why” facet (or quality) of a particular
phenomenon, intend of simply asking about the: “what” and “how” aspects of the same. It
allows researchers to gain insights into people’s attitudes, behaviors, value systems, concerns,
motivation, aspirations, context, and lifestyles.
The dance will be describing according to analytic scheme which makes it possible to
locate at a glance information about the following: historical background of the dance, steps of
the dance, music, costume and props.
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2.2 RESEARCH SITE
Plate 2. Map of Luzon showing the location of Isabela

Source: www.google.com
Plate 3. Map of Isabela showing the location of Cabagan

Source: www.google.com
Cabagan, (Ibanag: Ili nat Cabagan; Ilokano: Ili ti Cabagan; Tagalog: Bayan ng
Cabagan), officially the Municipality of Cabagan, is a 1st class municipality in
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the province of Isabela, Philippines. According to the 2015 census, it has a population of
50,174 people.
Cabagan had been the business center of three nearby towns (Santa Maria, San
Pablo and Santo Tomas) before they had their own market. It is locally known for
its pancit Cabagan. Its people are called Ybanags. Nowadays, Ybanags are well educated and
the source of the province's top politicians, professionals and a world class athlete.
During Christmas, the Cabagan Square Park could be seen flashing brightly with many
Christmas lights and lanterns. Cabagan's top schools are Cabagan Science Elementary School;
Saint Ferdinand College - Cabagan Campus; Isabela State University; and Delfin Albano High
School (Main Campus). The Malasi Lake is a sanctuary for migratory birds located in barangay
San Antonio and has been hailed by the DENR. The biggest gymnasium in Isabela and in the
whole Region 2 is located in this town and the century-old well that was built by the Spaniards,
located at St. Ferdinand College, Cabagan Campus.The carousel in Cabagan Square Park has
been dubbed by the townspeople as the largest in the Philippines.
Etymologically, the name Cabagan may have originated from the native
word bag or bajaque, not because "G-strings" were used here or made in Cabagan, but most
probably because there were stores in the village, Cabagan could have also been derived from
the word cabbagang, meaning "pilgrim" or stranger. Based on the fact that Cabagan at the time,
was in constant contact with members of the "pagan tribes" from Diffun, namely
southern Isabela as well as with the "Kalingas", of the neighboring Cordillera mountains.
The Cabagan of old, that existed from 1646 to 1877 was simply called, "Cabagan". In
1877, the Spaniards decided to transfer present-day Cabagan to a new site, abandoning the old
Cabagan. In 1888, the Spaniards resurrected the abandoned Cabagan, into a new town. With
this development, there were now two Cabagans. The Spaniards rectified the predicament by
naming the first Cabagan as Cabagan Viejo, and the second Cabagan as Cabagan Nuevo or the
new Cabagan. Apparently, the name was not to the liking of the new rulers, the Americans.
When the Americans came to rule the Philippines after the Spaniards, they renamed Cabagan
Nuevo as simply "Cabagan", and the old namesake, as the town of San Pablo.
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The old Cabagan, Cabagan Viejo which is now called "San Pablo", was the key town
in the colonization of the Irrayas and to some extent Diffun, i.e., southern Isabela. The Irraya
rebelled and the only ones that the Spaniards could claim, were some three hundred families
who agreed to establish the village of Maquilla, near Tuguegarao City. Cabagan became a
charter town in November 30, 1646 and ecclesiastically in May 15, 1647 with Saint Paul the
Apostle as the patron saint.
2.3 SELECTION CRITERIA AND PARTICIPANTS
The respondents of this study are the Ybanags from ten (10) barangays of Cabagan,
Isabela. The key informants are the elders from each barangay, ten (10) tourism officers, ten
(10) event organizers from LGU Cabagan, Isabela. From among the elders, the researchers will
choose and select twenty (20) elder respondents, according to the following criteria, the
respondents must be: a.) original settler of the barangay b.) actually performed the dance (or at
least familiar with the dance) and c.) member of the tribe. Tourism officers will be also selected
due to the fact that they are promoting the culture of Cabagan.
2.4. DATA COLLECTION
Interview. An structured interview will be conducted to investigate the indigenous dance of

the respondents. Interviews with the key informants such as the organizers and tourism officers
are conducted.
Observation. To validate the data gathered during the interview, a number of the members of
the tribe are requested to perform the dance so that the researchers may have the opportunity
to observe and substantiate the earlier mentioned data. What heightened the validity of the data
is the fact that the dance are performed and observed during the fiesta.
Still Camera and Voice Recorder. Capturing the dancers in action through a still camera
provided a significant tool in documenting the indigenous dance of Ybanag. Additional mobile
phones equipped with camera and voice recorder will be also used for an interrupted capturing
of significant events and to provide a backup of the files.
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Data Gatherings and Procedures.
1. Securing permission from the concern municipal officials, barangay officials
2. Securing permit from NCIP (if needed)
3. Scheduling of visits for documentation and interview
Before the actual gathering of data, the work order will seek from the National Commission on
Indigenous Peoples-Cagayan Valley Region( NCIP) Followed by the NCIP Province and
Municipal Mayor`s permit to conduct the study .After which, the researcher will commence
with the Free and Prior Informed Consent (FPIC), fighting of the Memorandum of
Agreement(MOA) , Conference and Disclosure, and community decision-making respectively,
when the elders of the tribe will give their blessings, the researchers will now start with the
interview and observation. Thus, the activities and procedures set by the NCIP-Cagayan Valley
Region is realize.
2.5 ROLE OF RESEARCHER
The researchers are the observers, interviewers during the conduct of the study. They
will ask questions, listen, then ask more probing questions to deepen the analysis of the dance.
2.6 METHODS OF VALIDATION
After the data analysis, the researchers will request the concerned barangay captain for
a validation day to be conducted with the NCIP Personnel, the validation will start with NCIP
team leader and explain to the elders about the Indigenous Peoples Rights Acts(IPRA) in
relation to IKSPs in local dialect. Then, the researchers will present the data gathered in the
different barangay on different days. After presenting the data, the participants will assess the
truthfulness and geniuses of all the information presented. The researchers will discuss about
their tradition regarding the indigenous dance through an open forum. The participants will
clarify and correct errors in the entire vocabulary of the dance particularly in the title of the
dance, historical background, steps, costume and props. This will give the researchers a firm
belief on the reliability of the data gathered and validity of the answers of the respondent.
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2.7 POTENTIALS ETHICAL ISSUES
Before, during and after the conduct of this study, the researchers will look into the
DO`s and DONT`s of the research as regards the confidentiality and anonymity of the identity
of the participants. During the gathering of data, respondents that they would only record
information with their approval. The researcher will strictly follow the stipulated terms and
conditions stipulated in the memorandum of agreement signed by the researchers and Ybanag
elders during the conference and disclosure facilitated by the NCIP personnel.
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REFERENCES
Dumn, John and Fait, Mollis (10 WA:W. M. C. Brown Publishers, 1989), Special Physical
Education, pp.383- 385.
Kakkamallan Beeman,(1994) "Effect of Badaga Folk Dance on Selected Physical and

Physiological Fitness Components Among High School Boys in Nilgiri District".
(Unpublished Master of Philosophy Theses. Department of Physical Education,
Alagappa University, Karaikudi), pp.74-75.
Domingo, John Paul R. DEM Physical Education Department, Bro. Andrew Gonzales
College of Education (BAGCED)
De La Salle University – Manila Campus johnpauldomingo2000@gmail.com
john.paul.domingo@dlsu.edu.ph
Andree Grav, (1990) "Dance", Eyewitness Guides. (London: Dorling Kindersley London,
NewYork, Moscow, Sydney
Kevin Shyne, (1983) "Dance for Your Life ", A Readers Digest Bool<, (Bombay: RDI Print
and Publishing Private Ltd., Bombay
Phinney, 1989; Phinney, Jacoby & Silva, 2007; Phinney & Ong, 2007

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PHILIPPINE NORMAL UNIVERSITY

The National Center for Teacher Education

PAROSA: A PREVIEW OF YBANAG CULTURE

CHAPTER 1: THE PROBLEM AND LITERATURE REVIEW

1.1 BACKGROUND OF THE STUDY

1.2 LITERATURE REVIEW

Indigenous Peoples Education

1.3 RESEARCH PROBLEMS

1.4 THEORETICAL or CONCEPTUAL FRAMEWORK

Plate 1. Different Versions of Parosa Dance

1.5 SCOPE AND LIMITATION

This study is limited to the documentation of Indigenous Ybanag dance of Angadanan,

1.6 DEFINITION OF TERMS

2.1 QUALITATIVE DESIGN AND METHODOLOGY

An ethnographic study is one that comes from ethnographic research, a qualitative

2.2 RESEARCH SITE

Plate 2. Map of Luzon showing the location of Isabela

Plate 3. Map of Isabela showing the location of Cabagan

2.3 SELECTION CRITERIA AND PARTICIPANTS

2.4. DATA COLLECTION

Interview. An structured interview will be conducted to investigate the indigenous dance of

Data Gatherings and Procedures.

1. Securing permission from the concern municipal officials, barangay officials

2. Securing permit from NCIP (if needed)

3. Scheduling of visits for documentation and interview

2.5 ROLE OF RESEARCHER

2.6 METHODS OF VALIDATION

2.7 POTENTIALS ETHICAL ISSUES

Kakkamallan Beeman,(1994) "Effect of Badaga Folk Dance on Selected Physical and

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