MODULE 2

Philippine Folk Dances

Lesson 1: History of Philippine Folk Dance

Lesson 2: Dance Terms Common to

Folk Dance

Lesson 3: Note Values and Note Patterns

Lesson 4: Fundamental dance steps

in 2/4, 3/4 time signature

Lesson 5: Folk Dance Proper

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MODULE II

PHILIPPINE FOLK DANCES

 INTRODUCTION
This module discusses about Folk Dances. Specifically How Philippine Folk
Dances evolved. Dance terms common to Folk Dance. Fundamental Dance steps in 2
4 and 3 4 time signature and Folk Dances. It is also hopes that you will learn to
appreciate Philippine Folk Dances as a form of fitness and for cultural preservation.

OBJECTIVES

1. To analyze the different information about Philippine folk dances.

2. To execute the common dance steps in 2 4 and 3 4 time signature
3. To interpret the literature of the folk dance given.
4. To dance Philippine folk dances, gracefully and with proper interpretations.
5. To appreciate and enjoy Philippine folk dances.
6. Provide through dances a healthful form of relaxation and recreation.

There are four lessons in the module. Read each lesson carefully then
answer/execute the exercises/activities to find out how much you have benefited from
it. Work on these exercises carefully and submit your output to your tutor or to the
faculty In-charge.

In case you encounter difficulty, discuss this with your tutor during the face-
to-face meeting. If not, contact the faculty in-charge.

Good luck!!!

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LESSON 1:

 History of Philippine Folk Dance

According to Philippine legend, the first man and the first woman went up the
hill to make their first home. They begot many children’s and later became the
ancestors of diverse tribes.
Several beliefs became their way of life. When lightning flashed in the sky,
and when the thunder rumbled, the tribes were struck with fear. They thought that the
gods were angry. To placate their deities, they offered sacrificial rites by way of fire
and smoke in the belief that the smoke from fires kindled carried their invocation
heaven wards.

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

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

Dance in the Philippine influences the diversity of our cultural beginnings and
the drama of our everyday lives. It blends the exotic customs and structures of many
countries and races-Indonesian, Malays, Chinese, Indian, Spanish and Americans.

The Philippine archipelago had been inhabited by three different racial groups
even before the coming of Magellan in 1521. They were the pygmies, Indonesians,
and Malays. The Negritos and Proto-Malays were the descendants of the pygmies, As
nearly those days, dancing among the Negritos was mostly pantomimic performed to
depict the events of daily chores.

Filipinos possess the natural grace, in born love and music and dance. Dancing
was considered a religious activity among them. They danced for many occasion
birth, love, courtship, thanksgiving, wedding, war, victory, marriage, planting and
harvesting, prosperous voyage, recovery from sickness and to heal the sick.

Also the natural environment has greatly affected our dances. In tropical
climate dances are generally slow. Languorous and energetic. The rice producing
regions carry the characteristics of their occupation-rice planting, harvesting and
winnowing. Those living near the seas, lakes and rivers depict in their dances fishing
expeditions, such as the movements of fish, boat rowing and the like. In the mining
regions, the dances depict mining as their occupation. In the coconut regions, they use
coconut shells in their dances.

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

Filipinos are also lovers of rituals as shown in ceremonial dances during town
fiestas, Christmas, Easter, ash Wednesdays. There were dances performed by the
priests and the priestesses in the thanksgiving for a plentiful harvest, as victorious
battle, a prosperous voyage or recovery from sickness, to drive away evil spirits and
in invoking their gods and anitos.

CLASSIFICATION OF PHILIPPINE FOLK DANCES

A. According to Geography
1. National Dances – dances found throughout the country.
2. Regional Dances – dances found in a certain locality or region.

B. According to Nature
1. Occupational Dances – depicts actions of certain occupation, industry, or
human labor.
2. Religious or Ceremonial dances – dances that are performed in connection
with religious vows, practices, and ceremonies.
3. Courtship dances - these are dances with love themes.
4. Wedding dances – dances that are performed by newlyweds, by friends
and relatives of the bride and groom, or by the father of the bride and
mother of the groom.
5. Festival dances – dances performed in connection with a celebration, a
feast, a barrio fiesta, good harvest and a good fortune.
6. Comic dances – dances with funny and humorous movements mainly
intended for entertainment.
7. War dances – dances which are intended to show imaginary combat or
duel with the use of fighting weapons like bolo or a spear.
8. Game dances – dances that have some play elements and for recreational
purposes.

C. According to Movements
1. Active
2. Moderate
3. Slow –
4. Slow and fast combination

D. According to Formation
1. Square or quadrille
2. Long formation or line formation – two or more parallel lines
3. Set – consisting of two or more pairs as a unit partners facing each other or
standing side by side.

BENEFITS OF FOLK DANCING

 PHYSIOLOGICAL
- Folk dances help you posture and alignment of your body, motor skills,
and positioning.

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- It is makes you more flexible, makes you last longer, and makes you
feel more confident.

 SOCIAL
- It will help you gain more meaningful interactions, social skills,
cooperation, and motivation.

 CULTURAL
- it will learn to cross cultures and deepen your understanding of your
own cultural identity.

 ARTISTIC
- It will help you ,more creative and artistic.

 RECREATIONAL
- You will have fun when you do folk dancing

THINK ABOUT IT!

NOTE: FOLK DANCE – is one of the oldest form of art. It is also considered a
traditional dance or ethnic dance of a given country. It relates to the customs,
traditions and daily lives of a certain community or locality.

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LESSON 2:

 Common Dance Terms in Folk Dances

Bow or Saludo - Partners bow to each other to the opposite dancers or to the
audience. This is a Spanish Origin

Brush - Weight of one foot swing the free foot in an arch, so that the ball or heel
strikes the floor at the lowest point of the arch. This may be done forward,
backward, or sideward.

Cabeceras - When the dancers are in square formation, the couples occupying the
width of the hall are called ”cabeceras” or head couples. This is a Spanish
origin.

Clockwise - Like the motion of the clock moving to the left, when facing center when
moving forward.

Counter Clockwise - The reverse direction of clockwise, the hands of the clock
moving to the right, when facing the center. Left shoulder is toward the center
of the imaginary circle when moving forward.

Cut - Quick change of weight from one foot to the other displacing the supporting
foot. (maybe forward, backward, or sideward,)

Cross-Over - Two couples (the vis-à-vis) are opposite each other. Each couple
proceeds in a straight line to the opposite place. The girls pass by their left
shoulders between the boys. Boys bow to each other when they meet at the
middle or about one-third of the way, then proceed to the opposite place. Upon
reaching the opposite place, partners turn about, girls stand at partners ‘left
shoulder.

Dosido or Dos-a-dos - Two people walk toward each pass by the right shoulder step
sideward to the right and return to position walking backward, passing left
shoulder.

Draw - The free foot is drawn toward the foot, which supports the body weight, by
pressing the toes against the floor as the close is made. With or without
transfer of weight.

Free Foot - The foot not supporting the weight of the body

Free Hand - The hand not doing anything

Hop - To spring from one foot and land on the same foot.

Inside Foot - The foot near’s one partner

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Inside hand - The hand near’s one partner

Jump - To spring from one or two feet and land on the other foot

Leap - To spring on the supporting foot and land on the other foot

Outside Foot - The foot away from one’s partner when they stand side by side.

Outside Hand - The hand away from one’s partner when they stand side by side.

Opposite - The person standing opposite across the set

Partner - The girl to the right of the Boy and Boy to the left of the girl

Place - To put the foot (flat) in any desired position without putting weight on it

Set - A unit formation of two or more couples

A. COMMON TERMS FOR ARMS AND HANDS

Abrasete - This term is of Spanish origin. Girl at the right side of Boy. Holds his R
arms with her L hand, free hands down at the sides.

Bilao - Hands in front parallel to each other at waist level, elbows close to the waist,
palms down. Reverse the position of the hands with palms up and down
alternately

Hapay - To flourish or offer a handkerchief, a hat or a glass of wine. This is a

Tagalog dance term

Hayon-Hayon - This is a visayan term meaning to place one forearm I front and the
other behind the waist

Jaleo - Partners stand with R (L) elbows almost touching. Using walking or any kind
of dance steps they turn once around clockwise (counterclockwise). This is a
Tagalog term of Spanish origin.

Kumintang - Moving the hand from the wrist either clockwise or in a counter
clockwise direction. This is an Ilocano dance term

Kunday-Kunday - This is similar to kumintang but done twice for every movement
on a faster beat (2 kunday in 1 measure).

Masiwak - To turn the hand from the wrist half-way clockwise then raise and lower
wrist once or twice. This is an Ibanag term

Arms in Lateral Position - To place both arms on one side of the body either right or
left side. In can be done on chest, shoulder, and waist line.

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Salok - To scoop or swing the arm downward, upward in front of the body, the trunk
following the movement of the scooping arm. Free hand in 5th position or
holding skirt. This a a tagalog term.

Sarok - Cross the (R) foot in front of the L foot, bend the body slightly forward and
cross the hands down in front R (L) over L (R). This is a Visayan term.

B. COMMON MOVEMENTS OF THE FOOT OR STEPS

Pivot - Turning on ball, heel of one or both feet on a fixed place. There are pivot with
a point, pivot turn and cross pivot.

Slide - To glide the foot forcibly on the floor with or without transfer of weight.

Stamp - To bring down one foot forcibly on the floor with or without transfer og
weight

Step - With the weight on one foot, shift the weight into the other foot

Supporting foot - The foot carrying the weight of the body

Tap - Toe or ball of foot is placed momentarily on floor and lifted again immediately.

Touch - See point

Whirl - To turn fast by executing small steps in place to right of left.

Panadyak - To Stamp in front or at the side with same foot close to the l foot (R)
weight of the body on l foot. This is a Tagalog term

THINK ABOUT IT !

LEARNING ACTIVITY;

INSTRUCTION: Choose 10 common dance terms and

demonstrate/execute it during face to face scheduled or send
your videos..

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LESSON 3:

 Note Values and Note Patterns

A knowledge of the values of notes and note patterns is important because it

facilitates to a great extent the attainment of rhythmic skills.

Values of Notes in 2/4; ¾; and 4/4 Time

Note patterns and Counting

2/4 Rhythm ¾ Rhythm 4/4 Rhythm

1 2 1 2 3 1 2 3 4

1 and 2 1 and 2 and 3 1-2 3-4

1 2 and 1 2 and 3 1-2-3-4

1 and 2 and 1 and 2 3 1-2 3 4

1-2 1 2 3 and 1 2 3-4

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LESSON 4:

 Fundamental dance steps in 2/4 and 3/4 time

signature
A.TRADITIONAL FOLK DANCE STEPS IN 2/4 TIME SIGNATURE

The dance steps used in Philippine traditional dances are combinations of the
basic natural movements. Listed below are the dance steps in 2/4 time which are
grouped according to note patterns and their corresponding counts as suggested by the
number of movements.

A. Note Pattern I I = 1 measure

Count 1 2

1. Touch Step Point R (ct.1); close R to L (ct.2)

2. Bleking Step Place R heel forward R (ct.1); close R to L (ct.2)
4. Cross Step Step R (ct.1); cross step L across R (ct.2)
5. Hop Step Step R (ct.1); hop on R (ct.2)
6. Brush Step Step R (ct.1); brush L (ct.2)
7. Slide Step Slide R (ct.1); slide L to R (ct.2)
8. Swing Step Step R (ct.1); swing L across R (ct.2)

B. Note Pattern I I = 1 measure

Count 1 and 2

1. Change Step Step R (ct.1); close L to R (ct. and), step R (ct.2)

2. Cross Change Step Cross step R across L (ct.1); close L to R (ct. and); step R (ct.2)
3. Contraganza Leap R to swd R (ct.1); cross step L across R (ct. and); step R
(ct.2)

C. Note Pattern I I = 1 measure

Count 1 2 and

1. Habanera Step Step R (ct.1); close L to R (ct.2): step R in place (ct. and)

D. Note Pattern I I = 1 measure

Count 1 and 2 and

1. Plain polka Step R (ct.1); close L to R (ct. and); step R (ct.2); pause (ct.2)

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B. TRADITIONAL DANCE STEPS IN 3/4 TIME

Listed below are the basic dance steps in 3 time that are grouped according to
note patterns and their corresponding counts as suggested by the number of
movements.
A. Note Pattern I I= 1 measure
Count 1 2 3

1. Waltz step Step R (ct.1); close L to R (ct.2); step R in Place (ct.3)

2. Cross Waltz Cross-step R across L (ct.1); close L to R (ct.2); step R
in place (ct.3)
3. Waltz Balance Step R (ct.1); close L to R and raise both heels (ct.2);
heels down (ct.3)
4. Redoba Slide R in second position (ct.1); cut R with L (ct.2); cut
L with R (ct.3)
5. Mazurka step Slide R (ct.1); cut R with L (ct.2); hop L and swing R
backward in front of L (ct.3)
6. Step-Swing-Hop Step R (ct.1); swing L across R in front (ct.2); hop on R
(ct.3)
7. Step-Brush-Swing-Hop Step R (ct.1); brush L and swing (ct.2); hop R (ct.3)

B. Note Pattern: I I = 1 measure

Count 1-2 3

1. Touch Step Point R (ct.1-2); close L to R (ct.3)

2. Bleking Step Heel place R (cts.1-2); close L to R (ct.3)
3. Close Step Step R (cts.1-2); close L to R (ct.3)
4. Slide Step Slide L (cts.1-2); close L to R (ct.3)
5. Cross Step Step R (cts. 1-2); cross step L across R (ct.3)
6. Hop step Step R (cts. 1-2); hop on R (ct.3)
7. Brush Step Step R (cts.1-2); brush L (ct.3)
8. Swing step Step R (cts. 1-2); swing L across R (ct.3)

C. Note Pattern I I I = 2 measures

Count 1-2 3 1 2-3

1. Sway Balance with a point Step R (cts.1-2);cross-step L across R (ct.3); step

2. Sway Balance with a raise
3. Sway Balance with a brush
4. Sway Balance with a hop
5. Sway Balance with a close
6. Engano with a close
R bckd (ct.1); point L in front (ct.2-3)
Step R (ct.1-2); cross-step across R (ct.3); step R
bckd (ct.1); raise and swing left L in front (ct.2-3)
Step R(ct.1-2); cross-step L across R (ct.3); step R
bckd (ct.1); brush L frd (ct.2-3)
Step R(cts.1-2); cross-step L across R (ct.3); step
R (ct.1); hop on R (cts. 2-3)
Step R (cts.1-2); cross-step L across R (ct.1); step
R bckd (ct.1); close L to R (cts.2-3)
Step R swd (cts. 1-2); cross-step L across R (ct.3);
step R swd (ct.1); close L t R (cts.2-3)

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D. Note Pattern I I= 1 measure

Count 1 and 2 and 3 and

1. Mincing Steps
2. Shuffling steps
3. Chasing steps
With feet in 5th position and heels raised, take as many
tiny steps. Swd. ( 1 step on every count)
With feet flat on floor, make small slides frd. (1 slide on
every count)
With one foot leading, execute successive close steps to
any direction.

E. Note Pattern I I I =2 measure

Count 1 and 2 3 1 and 2 3

1. Kuradang step Step R(ct.1); close L to R (ct. and); step R diagonally

fwd (ct.2); cross-step L across R (ct.3); step R
diagonally bkwd R (ct.1); close L to R (ct. and); step R
(ct.2); point L (ct.3)

THINK ABOUT IT!

LEARNING ACTIVITY;

INSTRUCTION: Choose 10 common dance terms and

demonstrate/execute it during face to face scheduled or send your
videos thru online.

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LESSON 5:

 Philippine Folk Dances

Folk Dance Proper

NOTE: SIMPLIFIED RULES IN FOLK DANCE

1. Tell the name of the dance and the country where it originated. Mention also
what kind of dance it is, whether it is festival, wedding, courtship, war, etc.
2. Give the historical background in relation to the origin, if there is any,
customs, traditions, modes of life and mood of the people who originated it.
3. Let the students hear and enjoy the music and analyze it in respect to tempo
(slow, fast, lively, etc.} mood or feeling (gay, sad, etc.) phrases and parts of
music (one, two, etc.), time signature.
4. Let them clap their hands, or beat the rhythm, accent, etc.
5. If there is a song accompanying the dance, teach the words of the students.
6. Intricate or new steps that have not yet been learned should be thought first
before taking up the dance. Be sure to give the name of the steps so that the
students will be familiar with the terminology. Explain and demonstrate the
steps, when necessary, Let them try the steps with the teacher, then alone by
themselves.
7. Put the class into formation for the dance.
8. Difficult steps or figures done with partners, may be practiced individually
first, facing front or the teacher before trying it with the partner.
9. First teach the figure I and II, after which proceed to another figure. Always
review the old step or figure before taking up new steps or figures to preserve
the continuity of the dance.
10. Perform the whole dance and repeat open enough to be enjoyed.
11. Follow the written instructions of the dance as closely as possible.
12. Students should be made to feel the music or should understand the dance to
be able to give the right expression and interpretation.

CARIÑOSA

The title denotes an affectionate, amiable, and romantic girl. This dance
portrays the different ways of tender loving attention and concern for a loved one.
There are as many vertions of this dance as there are regions which have ther
own way of expressing there tender feelings and romantic gestures. This version has
been found to be the most common.

COSTUME; Girl - Balintawak style or long patadiong or camesa: a fan hangs at

right side of the waist.
Boy - barong Tagalog and colored pants with a handkerchief inside
pocket.

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MUSIC: ¾ rhythm and composed of 2 parts A and B

FORMATION audience
X < ---------------------> O
6’

INTRODUCTION

Music Introduction.

Partners face each other.

Execute a three-step turn right in place and bow to each other. Girl holds skirt,
Boy places hands on waist 2 M

-I-
Three Steps and Point
Music A
(a) Starting with R foot, take three steps sideward right (cts. 1, 2, 3). Point L foot
in front (cts. 1, 2, 3). R hand inverse "T" position and L hand on waist.
Kumintang R hand pointing L foot
……………………………………………………................. 2M
(b) Repeat (a) starting with L foot and moving sideward left. Reverse position of
hands
…………………………………………………………………………….. 2M
(c) Repeat (a) and (b), three more times …………………………………….. 4M

- II -
Pointing
Music B
Partners face each other. Throughout this figure, Girl holds skirt and Boy places
hands on waist.
(a) Starting with R foot, take three steps forward to meet at the center (cts. 1, 2,
3). Step L close to R (ct. 1), pause (cts. 2, 3) ……………………………… 2M
(b) Take four touch steps in front, R and L alternately. Look at each other …...4M
(c) Starting with R foot, take four steps forward to partner's place, passing each
other by R shoulder (ctgs. 1, 2, 3, 1) ………………………..……………... 2M
(d) Repeat all (a-c), finish in proper places …………………………………… 3M

- III -
Back-to-Back
Music A
(a) Partners meet at center as in figure II (a) (cts. 1, 2, 3, 1). Turn right about to be
in back-to-back position a little bit to right of partner (cts. 2, 3). Girl holds
skirt, Boy places hands on waist ………………………………………....... 2M
(b) Point R foot in front and shake R index finger at partner over R shoulder L
hand on waist (cts. 1, 2). Step R sideward to be side by side with partner by L
shoulder, place R hand on waist (ct. 3). Repeat three more times, pointing L,
R, L and shakihg L, R, L index finger alternately at partner. Partners are
standing by each other's R shoulder when shaking R index finger to partner

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and by L shoulders when shaking L index finger to partner. Free hands on

waist (3M) …………………………………………………………….. 4M
(c) Turn right about and exchange places as in figure II (c) ………………….. 8M

- IV -
Hide and Seek with Fan
Music B
(a) Partners meet at center as in figure II (a) …………………………………. 2M
(b) Girl — Hold and open fan with Rhand. Point R foot in front and cover face
with -fan, L hand holding skirt (cts. 1, 2), Step R close to L and put R hand
down (ct. 3). Repeat the same three more times, pointing L, R, L. Cover face
with fan on cts. 1, 2 of every measure (3 M). Boy in the meantime, points R
and L foot alternately in front and looks at partner underneath the fan. Hands
on waist …………...……………………………………………………….. 4M
(c) Exchange places as in figure II (c) ………………………………………... 2M
(d) Repeat all (a-c), finishing in proper places …………………………….. 8M

-V-
Kneeling and Fanning
Music A
(a) Starting with R foot, take three steps forward to center. Girl holds skirt, Boy
places hands on waist (cts. 1, 2, 3). Girl — Kneel on R while Boy passes
around on right of Girl to stand behind her and faces the same direction as
Girl. Partners place hands on waists (cts. 1, 2, 3) …2M
(b) Boy — Point R and L foot four times alternately in front, looking at Girl over
her R and L shoulder alternately. Girl in the meantime, Looks at partner over
her R and L shoulder alternately. Both place hands on waists
……………………………………………………………………………... 4M
(c) Boy — Turn right about. Girl stand and exchange place as in figure II (c)
……………………………………………………………………………... 2M
(d) Repeat all (a-c), but this time Boy kneels down and Girl fans Boy over his R
and L shoulder alternately as she points her R and L foot alternately. Finish in
proper places ………………………………………………………………. 8M

- VI -
Hide and Seek with Handkerchief
Music B
(a) Partners meet at center as in figure II (a) (cts. 1, 2, 3, 1). Boy takes
handkerchief from pocket. Partners hold handkerchief at corners a
perpendicular position between their faces with Boy's hands on top at face
level (Cts. 2, 3) ……………………………………………………………. 2M
(b) Partners point R and L foot alternately four times as in figure II (b). Invert
handkerchief at every measure, that is, on one measure with Boy's hands on
top while pointing R foot and the next measure with Girl's hands on top while
pointing with L foot. When own hands are down, look at partners face from
below and when up, look above handkerchief ………………………….… 2M
(c) Girl releases handkerchief. Partners exchange as in figure II (c) ………… 2M
(d) Repeat all (a-c), finishing in proper places. This time Girl keeps handkerchief
at the end of this figure ……………………………………………..…….. 8M

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NOTE: In the Bicol regions the hide-and-seek movement is done with two
handkerchiefs crossed diagonally. Each dancer holds a handkerchief at two corners
which is diagonally folded (triangular form). While the dancers point the R foot, the R
hands are held obliquely right upward and the L hands are obliquely left downward,
thus the handkerchiefs are closed like the letter X in front between them. The
positions of hands are reversed when pointing L foot. They change position of hands
at every measure. They peep through the opening of the handkerchiefs above and
below alternately. The Girl peeps above with R hands are up and the boy, when the L
hands are up.

- VII -
Flirting with Handkerchief
Music A
NOTE: If one pair is dancing, partners may go to any direction so long as they
finish in proper places at the end of this figure.

(a) Partners turn R shoulders toward each other. Starting with R foot, take eight
waltz step forward moving around clockwise, Girl — Hold handkerchief at
one corner and place it over her R and L shoulder alternately at every measure,
looking back at Boy at the same time. Boy in the meantime follows behind
Girl, stretch out R and L hand alternately as if trying to catch the free end of
the handkerchief ………………………………………………………….... 8M
(b) Turn right about and repeat (a) counterclockwise, Girl leads again.
Finish in proper places …………………………………………………….. 8M

- VIII -
Flirting
Music B
(a) Starting with R foot, take two waltz steps to meet at center. Girls arms in
lateral position moving sideward right and left, boys hands on waist
(b) With Girl leading in front, partners take six waltz steps forward moving
around clockwise. Same position of hands as in (a) but Girls fingers fluttering
in time with the music as she looks over her R and L shoulder alternately at
Boy who is following her closely …………..……………………………... 6M

Saludo
Execute a three-step turn right in place and bow to each other with the girl
holding her with her girl holding her skirt and the boy with his hands on his waist. 3M

BINISLAKAN (Lingayen)

Source: Pangasinan Folk Dances Volume 1

By: JOVITA SISON FRIESE

Meaning : With the use of sticks

Dance Cultur : Christian lowland
Place of Origin : Pangasinan
Ethnolinguistic Group : Pangasinense
Classification : Courtship

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Background/Content
Lingayen in Pangasinan means having to look backward and upward. It was
derived from “LI-KING-TUNG” a Chinese word given to the name Lingayen, the
capital of Pangasinan, by the Chinese settlers in the place of long time ago. The barrio
folks who lives at Almazina small place between barrio Pangapisan (Pulong) and
Maniboc danced, this to commemoratethe stay of Limahong, a Chinese pirate who
built his kingdom here.

The dancers look backward or upward in some of the movements, hence, the
name Lingayen. They also use two sticks to produce rhythms imitating two chopsticks
used by the Chinese in eating, so the dance is also called Binislakan, which in
Pangasinan means with the use of sticks.

Dance Properties:

Costume
Female: Siesgo and kimono with loose and long sleeves and soft
panuelo
Male : Camisa de Chino and red pants

Music : 2/4 Com posed of two parts: A and B

Count : One, two, one and two, and one and two and

Formation : Partners stand about six feet apart. One or more pairs in
a set can take part in the dance, in any formation
desired.

INTRODUCTION
Music Introduction .
Partners face audience.

a. Cross sticks overhead; R-hand stick over L-hand stick and look upward ... 3M
b. Bend trunk forward and bring down point of crossed sticks close to floor... 1M

-I-
Music A
Face audience
a) Starting with R foot, take four change steps sideward right and left alternately,
raising alternately the L foot and R foot slightly above the floor; Bend trunk
sideward right and left alternately. Strike sticks sideward right and Left
alternately, three times to a measure, R, L, R. L. R. L. (cts. 1 and 2) To every
measure………………………………………………………………….…. 4M
b) Execute mincing steps sideward right. Strikes sticks overhead four times to a
measure, R, L, R, L, R, L, alternately. Look upward…………….....……... 2M
c) Bend knees and twist trunk to left; strikes sticks backward right R, L, R (cts. 1
and 2); look backward right……………………………………………….. 1M
d) Straighten trunk and stamp foot R, L, R (cts. 1 and 2). Strikes sticks R,L,R in
front of chest………………………………………………….…………… 1M
e) Starting with L foot repeat (a-d) to opposite direction stamp feet L, R, L ... 8M

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- II -
Music B
Face Audience
a) Paw (like scratching foot backward) L foot backward and at the same time
step R foot sideward four times, step on R foot with springy movements like
small leap; bend trunk slightly sideward right; R hand bend in front in level
with head, stick pointing toward audience; L hand down in rear; stick pointing
sideward left; look at left shoulder ( cts. 1,2,1,2)………………………….. 2M
b) Tap left foot in front two times; bend truck toward that foot and strikes sticks
twice in front close to the tapping foot ( cts. 1 and);straighten trunk and step L
close to R foot, strike sticks once in front (ct. 2)…………………………... 1M
c) Repeat (b) with R foot, bend trunk forward R foot………………………... 1M
d) Repeat (a-c), in reverse direction and position…………………………….. 4M
e) Face partner and repeat (a-d)……………………………… ………...……. 8M

- III -
Music A
Face audience
a) Jump forward and bend trunk forward. Cross sticks R stick over L stick below
knee level…………………………………………………. 1M
b) Straighten trunk and raise gradually the sticks overhead, sticks are still
crossed. Look upward…………..…………………………………………. 1M
c) Repeat (a) and (b) …………………………………………………………. 2M
d) Execute mincing steps going backward, arms in Reverse “T” position and
shiver sticks sideward. Bend head sideward right and left every two counts
………………………………………………………………………...…… 2M
e) Execute mincing steps turning right about finish facing away from
audience(1M)
a. Raise right kneeand strike sticks once under it.(ct.1) Straighten knee feet
b. Together and strike sticks once in front (ct. and) raise L knee and strikes sticks
c. Once under it.(ct.2)…………………………………………………...……. 2M
f) Repeat(a-d), facing away from audience………...………………………… 6M
g) Repeat (e); finish facing audience…………………………………..……... 2M

- IV -
Music B
Partners face each other: Boy ang Girl do their movements simultaneously
Girl:
a. Starting with R foot, execute eight change step going clockwise around boy
strikes sticks overhead and at the back alternately three times to a measure
strikes sticks R, L, R (cts. 1 and 2). Bend trunk forward when striking sticks at
the back. Kneel on both knees on the last count…………………………… 8M
b. Do the movements of Boy below (a-c). Finish facing audience……...……. 8M

Boy:
a. Kneel on both knees and strikes sticks on the floor at the right side three times
(cts. 1 and 2); strikes sticks overhead three times upward (1M); strike sticks at
the left side on the floor three times (1M); strikes sticks overhead three
times(1M)……………………………………………...…………………… 4M

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b. Repeat (a); stand at the last count……………………………….…………. 4M

c. Repeat movement of girl (a) Finish facing audience………………………. 8M

-V-
Music A
Partners face audience
a. Take one change step sideward right (cts. 1,2) raise L foot above the floor in
(ct.2)bend trunk sideward right and strikes sticks to sideward right three times
to a measure R, L, R……………………………………………………….. 1M
b. Repeat (a) three times more, to sideward left and sideward right alternately
raise R foot above the floor when doing the change step to sideward left and
strike sticks L, R, L…………….………………………………………….. 3M
c. Face partner and strikes sticks on floor in front, full knee bending R knee
lower than L knee ( cts. 1, ah, 2, and) …………….………………………. 1M
d. Stand, Straighten trunk, and strike sticks R, L, R, L, in front (cts. as in(c)).. 1M
e. Step right foot forward (ct.1) hop on right foot, raise L foot slightly close to R
foot strike both sticks diagonally right head level ,with partner (ct. and) step L
foot sideward (ct.2) hop on L foot, and strike sticks diagonally left with
partner (ct. 1)…………….………………………………………………… 1M
f. Stamp feet R, L, R, strike sticks in front R, L, R, (cts. 1, and 2)…….…….. 1M
g. Repeat (a) and (b), facing audience……………………..…………………. 4M
h. Repeat (c-f), facing partner………………………………………………… 4M

- VI -
Music B.
a. Starting with R foot, execute with two change steps going forward to meet
partner at center finish in one line. Girl in front of Boy, facing audience. Strike
sticks three times R.L.R overhead (look upward) (cts. 1, and 2); bend trunk
forward and strike sticks in front L,R,L (cts. 1 and 2)………………….…. 2M
b. Starting with R foot, execute six change step right and left alternately, going
around clockwise. Strike sticks as in (a) Finish in circle facing center …… 6M
c. Starting with R foot, take four change step going toward center. Strike sticks
as in (b)…………… ………………………………………………………. 4M
d. Repeat ( c ) , going backward; finish facing right………….……………… 4M

SALUDO
Music Finale
a. Execute mincing steps going counterclockwise; finish in line formation facing
audience as in Figure 1. Arms in Reverse “T” position and shake sticks
sideward; bend head sideward right and left alternately every two
counts…………………………………………………………..………...… 3M
b. Stamp feet R, L, R, and strikes sticks overhead R, L, R (cts. 1 and 2), Look
upward………………………………………………………………………1M
c. Mincing steps, turning R slowly; finish facing audience, sticks are still crossed
overhead and looking upward...…………………………………………..... 3M
d. Feet together, bend trunk forward, bringing down the crossed sticks below
knee. Sticks touch floor in the last count………...……………………..….. 1M

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TUPAY-YA

Source ; By: DR. PAZ CIELO A. BELMONTE

Baranggay Philippines Folk Dance Company

Maening : Celebration
Dance Culture : Highland
Place of Origin : Kalinga, Cordillera Region
Ethnolinguistic Group : Visayan
Classification : Wedding Dance

Background/Content:

The canao is a prestige feast which the wealthy among the Kalinga celebrate at
least once a year on very special occasions like birth, courtship marriage, victory or
death,or any special event. The wealthier the headman the longer the “canao” it may
last for one day to one week. Tupay-ya is a wedding dance held after a brave warrior
win in a battle for the hand of the maiden he loves. This is a dance reseach together
with my student major in Physical Education at the University of Santo Tomas, Miss
Christine Rivera.

Dance Properties:

Costume :
Female: Native woven skirt called kain or gatong, bound tightly
at the waist by a ceremonial belt called wakes with a
loose white blouse with sleeve called silop or
sleeveless blouse called putot.
Male: “G”-string with a ballake or kinawet, an Igorot style
basket hat.
Hand Props : Kalinga Blanket (Silanbituon)
Music : 2/4
Count : 1, 2, 3, 4, to a measure, 1, and 2 or 1 and 2 and 3 or
Pause. 1 and 2.
Basic Steps : Skip steps
Bouncy tortiller step done by jumping, hop on one foot
and Drag the other foot.

-I-

1 and 2 and 1 and 2 and 1 and 1 and 2 and

Boy and Girls:

a. Take 4 skip steps forward to center hold big kerchief with both hands to the
right side………………..………………………………………………….. 2M
b. 4 bouncing tortiller steps to the right kerchief on the left side (2M). Repeat to
left , reverse arm movement (2M)………………………………...……….. 4M
c. 4 skip steps to exchange places passing by the right shoulders and finish
facing each other again………………………………...………………….. 2M

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d. Repeat (a) to (c) to return to places………………...………………………. 8M

- II -
Same Rhythm

a. Take 4 skip steps forward to center (2M) , 2 skips backward (1M), 2 skips
forward turning and boy flip big cloth over the head of the girls as they meet at
center (1M)………………………………………………………………… 4M
b. 2 skip forward to opposite place and turn about doing to bouncing tortiller
steps……………………………………………………………………….. 4M
c. Repeat (a) and (b) back to places………………………………………… 8M

- III -
Boy Place blanket on right arm and face left, right shoulder toward girl

a. Take tortiller step sideward towards the girl, while girl does it in place. When
the boy is near the girl because he extends his right arm as if to offer the
blanket to the girl. Girl extends arms but quickly withdraws as if in hesitation
and boy skip back to original place…………………….………………….. 8M
b. Repaet (a) once more and when girl refuses to accept boy withdraw away
farther, Meanwhile the community starts chanting as if the cheer and beg the
girl to accept the token as proposal…….………………………………….. 8M

- IV -
Rhythm

1 2 3 4

Boy take 4 slow steps forwards the girl and skip forward and back on the right side of
the girl, girl about, boy skips steps on the left side of the girl: and girl turns about.
Boy skips back to place………………………………………..……………………8M

- IV -

Boy places blanket on both forearm do a bouncing tortiller forward as if to implore

the girl, girl extends both arms forward to receive the token. By thrust the token on
the girls forearm shout out a “victory” and exists with the girl following closely
behind……….……………………………………………………………………… 8M

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 MODULE SUMMARY

In module II, you have learned about the Philippine folk Dance.

There are 5 lessons in module II. Lesson 1 consists of 3 parts about

the history, classification of Philippine Folk dances and Benefits of folk
dancing.

Lesson 2 deals with the dance terms common to folk dance which
consists of two components, common terms for arm and hand and common
movements of the foot or steps

Lesson 3 is about the Note Values and Note patterns.

Lesson 4 talks about the fundamental dance steps in 2/4, ¾ and 4/4
time signature

Lesson 5 presents the folk dance proper

Congratulations! You have just studied Module II. now you are ready
to evaluate how much you have benefited from your reading by answering
the summative test. Good Luck!!!

 SUMMATIVE TEST

LEARNING ACTIVITY
Direction: 1. Choose one Folk Dance above.
2. Perform the Folk Dance with partner or with a group.
3. If possible secure the proper costume for your performance.
4. You will be rated on the following.
5. Send your videos..

CRITERIA PERFECT POINTS YOUR SCORE

1. Poise, Grace
And Body Form 25points _________

2. Timing and Coordination 25points _________

3. Mastery of Steps 25points _________

4. Total Expression 25points _________

YOUR SCORE: _________

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 23

Part I. Analyzing Test Items

1. Among the Ancient Filipinos, dancing was considered as

a. Recreational activity c. an art
b. A religious activity d. a plain movement

2. The natural environment greatly affected Philippine dance. In tropical climate, the
dances are generally
a. Sad, slow and mournful c. slow, languorous and energetic
b. Gay and frolicsome d. sad, mournful and languorous

3. In places where life is hard, the dances are generally

a. Sad c. slow, languorous, and energetic
b. Gay and frolicsome d. sad, mournful, and languorous

4. The nature of the dances in the Cordillera are classified as

a. Ceremonial festival and imitative c. occupational, war and festival
b. Occupational and comic d. ceremonial, comic and imitative

5. They are the people of cordillera who carved the famous rice terraces and are called
“inhabitants of the earth”.
a. Bontocs c. Ifugao
b. Benguets d. Kalingas

6. They inhabit the southernmost part of the cordillera central

a. Bontocs c. Ifugao
b. Benguets d. Kalingas

7. They are sometimes referred to as “Peacocks of the Mountain”

c. Bontocs c. Ifugao
d. Benguets d. Kalingas

8. It is a dance among the apayaos which imitates the high flying bird
a. Pattong c. Bendian
b. Say-yam d. Turayen

9. A kalinga word for dance

a. Taddek c. Ragragsakab
b. Takiling d. Pattong

10. They are major Muslim groups who are dedicated Muslim. Steeped in traditional and
live in the region of lake Lanao in Lanao del Sur
a. Maguindanaos c. Yakans
b. Maranaos d. Tausugs

11. A Maguindanao dancewhich shows traces of Hindu-Vedic influence where the five
dances represent the five distinctive sounds of the gandingan
a. Sagayan c. Silong sa Ganding
b. Kagsingkil d. Asik

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 24

12. The couples original position in the set

a. Corner position c. Home position
e. Opposite position d. Visiting couples

13. A dance or unit formation in square dancing

a. Set c. Promenade
b. Open position d. Chain

14. Inahaw and dugsu are dances of offering among the

a. Manobo tribes c. Bukidnon tribes
b. Bagobo tribes d. Tagbanuas

15. Pandanggo sa Ilaw is a dance which originated from

a. Bohol c. Batangas
b. Mindoro d. Laguna

Part II. Enhancing Test

1. Inalisan is a dance which originated from the

a. Ilocos Region c. Bicol Region
b. Tagalog region d. Visayan Region

2. Maglalatik is a war dance making use of a cconut shells, it originated from

a. Cavite c. Batangas
b. Pampanga d. Laguna

3. To flourish or offer a hankerchief, hat or glass of wine to somebody as a sign of

invitation is a dance called
a. Hayon-hayon c. Hapay
b. Jaleo d. Kumintang

4. Masiwak is to turn the hand from the wrist half-way clockwisethen raise and lower
once or twice. This dance term is
a. Tagalog c. Ibanag
b. Ilokano d. Visayan

5. The step pattern for contraganza

a. Step close step c. cross-step close step
b. Slide cut cut d. leap cross-step step

6. To place on forearm in front and the other at the back of the waist is called
a. Hayon-hayon c. Salok
b. Jaleo d. Kumintang

7. Moving the hand from the wrist either clockwise or counter clockwise is called
c. Hayon-hayon c. Salok
d. Jaleo d. Kumintang

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 25

8. Salok is term in
a. Ilocano c. Tagalog
b. Visayan d. Ibanag

9. Sarok is term in
a. Ilocano c. Tagalog
b. Visayan d. Ibanag

10. The step pattern for Redoba is

a. Slide cut hop c. step hop hop
b. Slide cut cut d. slide close step

Part III. Practice Test

A. Identify the following dance steps suggested by the step patterns:

1. Slide, close ____________________

2. Step, cross ____________________
3. Point, close ____________________
4. Step, hop ____________________
5. Step, close, step ( cts. 1 and 2) ____________________
6. Heel place, close ____________________
7. Raise-step, close step ____________________
8. Leap, cross-step, step ____________________
9. Hop-step, close step ____________________
10. Heel place, toe point, step close step ____________________
11. Step, close ____________________
12. Cross-step, close, step ____________________
13. Step, close, step ( cts. 1 and 2) ____________________
14. Heel place, toe point, raised-step ____________________
Close, raised-step
15. Tiny steps with heels raised ____________________

Module II