St.

Rita’s College of Balingasag

Balingasag, Misamis Oriental
HIGHER EDUCATION DEPARTMENT

MODULE 1

Subject Code: P.E. 3

Course Title: Philippine Folk Dances
Credit Units: 2 units
Course Description: This course is designed on dance which includes rhythmical movement
patterns; the promotion and appreciation of Philippine folk dance, indigenous and traditional dances
as well as other dance forms.
Course Outcomes:
CO 1 – Enhance the cultural values demonstrated in various folk dances aesthetically, morally, and
physically
CO 2 - Actively participate in folk dancing for its intellectual, moral, and aesthetic values.
CO 3 - Commit to the ideals of cultural development as a vital factor in nation-building
CO 4 - Disseminate Philippine traditional dances in its pure and authentic form.
CO 5 - Appreciate folk dances as a cultural legacy and to show to other nations the identity of the
Filipinos as a people.
Course Outline:
Unit 1: Introduction to Philippine Folk Dances
Unit 2: Fundamentals in Philippine Folk Dancing
Unit 3: Forms of Philippine Folk Dances
Unit 4: Nature of Philippine Folk Dances
Unit 5: Examples of Folk Dances in the Philippines

Grading System:

See Revised Handbook

Topic
 Introduction to Philippine Folk Dances
Learning Objectives
At the end of this module, the students are expected to;
(i) Discuss about the Introduction of Philippine Folk Dances;
(ii) Appreciate folk dances as a cultural legacy and to show to other nations the identity of the
Filipinos as a people and;
(iii) Disseminate Philippine traditional dances in its pure and authentic form.
Introduction
Philippine Folk Dance is a dance develops by a certain group of people that reflects the life of
the people in a certain country or region. The history of Philippine Folk Dancing incorporates
influences from immigrants and conquerors while at the same time maintaining distinctly Filipino
roots. It is a true reflection of daily life in past centuries while enchanting modern audiences at the
same time. There is no recorded ‘start” to Philippine Folk dance-as long as there have been people on
the islands they have been dancing. In fact, their mythology is filled with many different gods and
goddesses that needed to be placated implored, or thanked for various natural events like rain and
harvests. Many of these festivals still feature ancient folk dances performed in costume of the tribal
period.
Time Allotment: 15 hours (1 week)
Core/Related Values and Biblical Passage
Core/Related Values: Service – Patriotism

Biblical Passage: Psalms 33:12-22 –“Blessed is the nation who’s God is the LORD; and the people
whom he had chosen for his own inheritance”.

Learning Content
Overview

Philippine Folk Dances are celebrations of daily life, health, peace, war, harvest times and other
aspect of life. According to the Commission for Culture and the Arts, Philippine Folk Dances imitates
nature and life because they are rituals for social and spiritual express.

Francisca Reyes Aquino (March 9, 1899 – November 21, 1983) is acknowledged as the Folk
Dance Pioneer and National Artist for Dance (1973) . This Bulakeña began her research on folk
dances in the 1920’s making trips to remote barrios in Central and Northern Luzon. Her research on
the unrecorded forms of local celebration, ritual and sport resulted into a 1926 thesis titled
“Philippine Folk Dances and Games,” and arranged specifically for use by teachers and playground
instructors in public and private schools.

In the 1940’s, she served as supervisor of physical education at the Bureau of Education that
distributed her work and adapted the teaching of folk dancing as a medium of making young
Filipinos aware of their cultural heritage. In 1954, she received the Republic Award of Merit given by
the late Pres. Ramon Magsaysay for “outstanding contribution toward the advancement of Filipino
culture”, one among the many awards and recognition given to her.

Her books include the following: Philippine National Dances (1946); Gymnastics for Girls (1947);
Fundamental Dance Steps and Music (1948);Foreign Folk Dances (1949); Dances for all Occasion
(1950); Playground Demonstration (1951); and Philippine Folk Dances, Volumes I to VI.
Origin of Dance

Philippine dance has played a tremendous role in Filipino culture. From one of the oldest dated
dances called the Tinikling, to other folkloric dances such as the Pandanggo, Cariñosa, and Subli, and
even to more modern-day dances like the ballet, it is no doubt that dance in the Philippine setting
has integrated itself in society over the course of many years and is significantly imbedded in culture.

Ritualistic Dances

Filipino rituals are based on the belief that there exists a delicate balance between man and
nature, and the spirit world; and that it is through rituals that we can restore, enhance or maintain
this balance. It clarifies our place in the universe; each gesture and move in the dance are
symbolically articulating the role of man and human in the world. The dances contain narratives
which illustrate the contractual obligations governing relationships between mankind, nature and
the spirits. Because there are innumerable reasons for why and how humans can cause shifts in the
balance or forget their place in the grander scheme, there are also innumerable rituals that can correct
or address the concerns. Thus, it is in looking at their intentions that it can be better understood,
interpreted and classified. Some of the rituals attempt to define the future, appease spirits, ask for
good harvests, invoke protection, heal the sick, asking for good luck, guidance and counsel. Almost
every facet of Filipino life is linked to a ritual practice and is an indication of the value and
pervasiveness of rituals in folk culture.

Filipino rituals are often shown in dance, because for Filipinos, dance is the highest symbolic
form. It transcends language and is able to convey emotions, collective memory, and articulate their
purpose. Dance in this case, is the fundamental expression of their complex message and intention.
Aside from ritualistic dance as a way to convey their request to the gods or spirits, it also reaffirms
social roles in village hierarchies. The leaders of the dances are the masters of the village's collective
memory and knowledge and subsequently, commands the highest respect and status.

Forms

Rituals have been greatly influenced by rich colonial history, as well as archipelagic
geography. As a result of this, each major geographic area such preserved distinct traditions, some
preserving pre-colonial influences, while others were integrated or completely changed. Islam was
deeply rooted in Mindanaoan culture long before the Spanish arrived and were mostly left
untouched by Spanish presence, thus they continued to keep their mythic Islamic practices. Unlike
the Filipinos of the lowlands, who integrated Christian and Catholic practices to form a uniquely
Filipino folk Christianity which is still practiced today.

Structure

As rituals are mostly in the form of dances, it uses gestures, incantations and symbolic
implements to invoke spirits, to restore balance or to ask for intercession for harvests, good
marriages, and safety in journey or counsel. Rituals then, have 2 intended audiences, the spirits who
are summoned to placate their anger or to call for their participation to restore balance and to care
and provide for mankind. The second audience are the practitioners. In carrying out the rituals, they
are reflecting and passing on the collective knowledge and memory of the village, which have been
accumulated and refined across many generations. It is through the use of dramatic gestures and
dance that symbolic narratives, their values and beliefs are recorded and safeguarded from
forgetting. The performance of ritual dances is ultimately an act of recollection. It is a reminder for
men and spirit their duties and responsibility in restoring the world's balance. And within the dance
itself, practitioners are reminded of the significance of the past, and are being prepared to
accommodate the uncertainties that the present and future may bring.

Functions

Dancing for Filipinos have always imitated nature and life, and is seen as a form of spiritual and
social expression. Birds, mountains, seas and straits have become inspiration for local dances. The
tinikling mimic the rice-preying birds, the itik-itik is reminiscent of its namesake the duck, the
courtship dances of the Cordillera are inspired by hawk-like movements.

Geographic location also influence what movements are incorporated into the dances. People
from Maranao, Maguindanaon, Bagobo, Manobo, T’boli of Mindanao and Tausug and Badjao of
Sulu. Draw influences from aquatic life as they are near bodies of water and have lived their lives
mostly off-shore. Their dances accompanies by chants, songs and instruments like the kulintang,
gong, gabbang and haglong, as well as a variety of drums show their zest for life.

Some rituals are used as religious expressions to honor the spirits and ask for blessings in each
facet of life, such as birth, illness, planting, harvest or even death. They believe in diwatas, or spirits
dwelling in nature, which can be appeased through offerings and dance as a means to commune
with the spirit.

Dance over the years

To better understand these dances, the time period of these dances must be considered.
Depending on each period, they have had their own ways of influencing and inspiring the dances
which then evolve and change depending on these elements.

Pre-colonial

Pre-colonial dances are distinctly meant to appease the Gods and to ask favors from spirits, as a
means to celebrate their harvest or hunt. Their dance mimicked life forms and the stories of their
community. Moreover, theses dances were also ritualistic in nature, dances articulated rites of
passages, the community's collective legends and history.

Across the 7,641 islands in the Philippines, there are various tribes scattered all over, each with
their own unique traditions and dances. The Igorots from the mountains of Luzon, resisted Spanish
colonization and influences have kept most of their dances untouched across generations. Their
dances express their love of nature and gratitude to the gods. Their choreography imitates nature
and their life experiences. Dancers would often swoop their arms like birds and stomp their feet as a
representation of the rumbling earth.

Spanish Era
 Spaniards have moderated and even led the politics and economics of the country, which was
mainly due to the Spanish colonialism starting from the 16th century. Despite the earliest Filipinos
having their of type of government, writing, myths, and traditions, several features of Hispanic
culture have influenced different aspects of Filipino culture, from clothing, such as the barong
Tagalog and the terno, to their religion even up to the dances and music.

Filipinos already had their own set of music and dances before the Spaniards came; dances were
performed for different reasons, from weddings up to religious feasts, even to prepare for or
celebrate war. As the Spanish colonizers realized the relevance of these dances for Filipinos, dancing
was utilized as a relevant social activity. Some of the first dances they presented were the rigodon,
Virginia, and lanceros; these were dances done for the higher class and special fiestas. Filipino dance
styles like the kumintang, type of song and dance, and dances like the Pampangois, a dance
distinguished for its lion-like actions and hand clapping, were pushed aside when the Spaniards had
come. However, they were later remade with influences from new Spanish dances such as the
fandaggo, lanceros, curacha, and rigodon. Other features that were done when adopting these
European dances was the addition of local elements like using bamboo, papays (local fans), and
coconut or shell castanets.

Filipinos, mainly aristocrats, have also created their own renditions of European dances such as
the jotas, fandaggos, mazrukas, and waltzes that were done during this time. The fandaggo after it
was introduced was recreated as the pandaggo; the same happened to the jota that was then
recreated in several regions; Cariñosa and Sayaw Santa Isabel had steps that were taken from a
popular dance, the waltz. Other examples would be how the rhythm and tempo of the jota and the
polka influenced traditional dances like the Tinikling and the Itik-itik, which were also inspired from
Southeast Asian dances. Dances that were not accompanied by Western music were also given their
own accompaniments, such as the case of Pandanggo sa Ilaw.

As European dances had more sharp and fast steps, Filipinos softened these movements when
they were recreated. Other dances that were created during the time of hispanization would be the
Danza, Jota Cagayan, Jota Isabela, Pantomina, Abaruray, Jota Manileña, Habanera Jovencita, Paypay
de Manila, Jota Paragua, and the Paseo de Iloilo.

American era

Just like in the Spanish colonization, the Americans, in 1898, had brought in their own commercial and
global culture which had also influenced the Filipinos. Those with interest in dance were the ones mainly
appealed to by the more Black-influenced customs of dance and music. With these Filipino dancers who
already know the zarzuela (Sarswela), a Spanish form of stage performance with singing and dancing and
musical comedy,[43] they became more interested in the American vaudeville (Bodabil) or “stage show”,
which is filled with both theatrical and circus acts, and more reminiscent of Broadway musicals. More
dynamic dances were incorporated in these zarzuelas during the 1950s to the 1970s, such as the cakewalk,
buck-and-wing, skirt dance, clog, tap, and soft-shoe that were more upbeat and had an American rhythm to
them, as well as social dances like the Charleston, foxtrot, big apple, one-step, slow-drag, rumba, mambo,
samba, cha-cha, and the Latin-influenced tango. This growth of American-influenced dances also spawned the
increase of cabarets, such as the Santa Ana Cabaret which is a huge ballroom dedicated for these
performances. The disco scene also grew more in the 1980s.

Known as the “Dean of Philippine vaudeville,” John Cowper had brought with him other artists when he
had come. As with the growth of American influence over dance in the country, Filipinos had started creating
their own dance troupes; some of these would be the Salvadors, the Roques, Sammy Rodrigues, Lamberto
Avellana, and Jose Generoso to name a few. European classical ballet also gained more popularity following
the American dances. Aside from creating their own groups, with the new and more advanced transportation
system in the country, the Philippines was now able to be included in the international circuit, which had led
to performances by international acts such as the Lilliputians with their “ballet girls” and the Baroufski
Imperial Russian Circus showcasing their ballerinas.

Aside from having international acts come, other talents also came to perform, with the notable one being
Anna Pavlova in 1922 and performed at the Manila Grand Opera House. More international acts came to
perform in the Philippines after, while some also trained Filipino dancers, one of which is Madame Luboc
“Luva” Adameit who trained some of the first notable ballet dancers who had also become choreographers:
Leonor Orosa Goquingo, known for her folk-inspired ballet performances (such as Filipinescas), Remedios
“Totoy” de Oteyza, and Rosalia Merino Santos, a child prodigy known for doing the first fouettes in the
country. Aside from the rise of American dances and European style ballet, modern dance had also started
taking form during this period in the vaudeville circuit. Ruth St. Denis and Ted Shawn, two founders of
modern dance visited the Manila in 1926.

Other modern dancers also performed in the country which led to some Filipinos training under this
dance style. With the growing popularity of this dance style, Filipino dancers continued to mix in elements of
folklore and native themes. Anita Kane produced Mariang Makiling in 1939 and it was the first full-length
Filipino ballet performance. She also has other works such as Reconstruction Ballet, Mutya ng Dagat (Muse of
the Sea), Inulan sa Pista (Rained-out Feast), and Aswang (Vampire), which all had Filipino motifs. Leonor
Orosa-Goquingco also had native elements in her dances like Noli Dance Suite and Filipinescas: Philippine
Life, Legend and Lore in Dance, which had mixed ballet and folk dances into one performance. Due to this
trend, many other writers and dancers continued to connect this Western dance style with native influences,
motifs, and even history.

Learning Evaluation
Teaching – Learning Activities

TLA 1:
Explain briefly the history of Philippine Folk Dance by using this graphic organizer.
 Philippine
Folk Dance

TLA 2: Using a Stacked Venn Diagram, state the importance of Francisca Reyes Aquino and her
contribution to Philippine Folk Dances.
 Francisca
Reyes
Aquino

TLA 3: Accomplish this Learning Bank about Philippine Folk Dance

(What I learned) (How I would use what I learned in life)

Assessment

Performance Task : Make a Scrapbook about the Mother of Philippine Folk Dances, Francisca Reyes
Aquino
 SCRAPBOOK RUBRIC

Category Below Standard Satisfactory Accomplished Excellent

Appearance of the The project’s The project’s The project’s The project’s
Project appearance is appearance is quite appearance is appearance is quite
( 20 Points) professional and professional and somewhat poor. poor. Many
polished without polished with Some distractive
distractive few distractive Distractive elements.
elements. Uses the elements. White elements. Missing Does not include
required elements space is efficiently some of the the proper
of the project used. Contains all requirement of the requirements for
to efficiently show the requirements project. the project.
the topic. of the project.
Content Facts & The project content The project content The project content The project content
Information is exemplary is good and is fair/poor and is poor and
and suggests the suggests the youth suggests most of suggests sufficient
(30 Points) youth has has discovered the important facts research has not
discovered the most of the were not disco- been done.
important ideas of important facts vered .
his/her topic. of his/her topic.
Images All images are All images are Some images are Too few images are
( 10 Points) effective effective, but there effective. used to be an
appear to be too effective
few, too many presentation.
or some that are
irrelevant.
Style and Display is Display is Some parts of the Display is
Organization interesting and interesting and display are uninteresting, not
(10 Points) attractive. attrac interesting. Some tidy.
Materials are tive. Materials are materials are Materials are
complete and complete and complete but lack incomplete and not
organized to well organized. organization. organized.
present the ideas Presentation has Presentation has Presentation has
well. sequence and plan some sequence no
evident. and plan evident. sequence or plan
evident.
Creativity and Project is Good creative Some attempt made Little attempt to add
Appearance excellently effort. Project is to add color and color or originality.
presented neat and shows originality. Project is Project has sloppy
( 5 Points) reflecting creativity evidence of time neat, but appears to appearance. Rushed
and a lot of spent on it. be rushed. to complete.
thought.

Knowledge Scrapbook The scrapbook The scrapbook The scrapbook

demonstrates a demonstrates demonstrates demonstrates
(25 Points) thorough good knowledge of some knowledge very li-le
knowledge of the the subject of the subject knowledge of the
subject investigated. investigated. subject
investigated. investigated.
 Assignment

Make a Video Presentation about the Fundamental Positions in Folk Dancing.

VIDEO PRESENTATION RUBRICS

Below Standard Satisfactory
Dimensions of
Performance
Score: 80-83 Score: 84-88
Students need help to
research and write a
script. The storyboard
does not match the final
Planning production. Some group
members have roles and
Research, some perform very few
Storyboarding, tasks. Some video
and Rehearsal vocabulary and floor
language is used during
rehearsals. Students need
to be reminded to stay on
task
The project has a focus
but may stray from it at
times. There is an
organizational structure,
though it may not be
carried through in a
consistent manner. There
Content
may be factual errors or
inconsistencies, but they
are relatively minor. Less
than adequate evidence of
student learning and
efforts are reflected in
student's project.
Either lack of preparation preparation and
or illogical sequence.
Layout/ Transitions are choppy or Transitions are
distract the viewer. Titles adequate. Titles are easy movement from understanding of the
Design are not present or distract present. If
from the overall video. storyboard is
Does not have a
storyboard.
Technical The camera work is
Accomplished Excellent
Score: 89-94 Score: 95-98
Students need help
Students research
to research and write
Students research and independently and write
a script. There is a
write a compelling and a compelling and
storyboard that is
creative script. The creative script. The
adhered to during
storyboard is drawn storyboard is drawn
production. Most
carefully with shot carefully with set design
group members have
compositions included. and shot compositions
roles and use some
All group members included. All group
video vocabulary
have their and use members define their
and floor language
video vocabulary and roles and use video
during rehearsals.
floor language during vocabulary and floor
Students need to be
rehearsals. language during
reminded to stay on
rehearsals.
task.
There is focus that is The project has a clear
The project has a clear
maintained focus related to the
focus related to the
throughout the chosen topic and one or
chosen topic and one or
project. The project more of the following
more of the following
presents information elements; reflects
elements; reflects broad
in a accurate and broad research and
research and application
organized manner application of critical
of critical thinking
that can be thinking skills; shows
skills; shows notable
understood by the notable insight or
insight or understanding
intended audience. understanding of the
of the topic. Excellent
Adequate evidenced topic. Excellent
evidence of student
of student learning evidence of student
learning and efforts are
and efforts are learning and efforts are
reflected in student's
reflected in student's reflected in student's
project.
project. project.
Adequate Sequence of project Organization of
components is clear presentation is
sequence is shown. and evident. excellent. Transitions
Transitions provide add to the viewer's
one scene to another. topic. Titles are added
Titles are used and add to enhance
present, it shows the to the video's flow. understanding.
project in a broad Storyboard shows Storyboard shows
outline. general outline. progression.
The camera work The camera work is The camera work is
 choppy and the scenes are may be choppy or
generally smooth and
blurry or panning is too panning is too fast. smooth and the focus is
the focus is usually
fast. Sound and visual Sound and visual crisp. Sound and visual
crisp. Sound and visual
files contain significant files may have some files are distortion free.
files are mostly
distortion. Transitions are distortion but it Transitions are timed
distortion free.
awkward between scenes. doesn't distract the for smooth movement
Transitions provide a
Titles are illegible. viewer. There are between scenes. Titles
Elements smooth movement
Technical difficulties some technical are legible. There are
between scenes. Titles
seriously interfere with problems, but the few technical problems,
are mostly legible.
the viewer's ability to see, viewer is able to and none of a serious
There are few technical
hear, or understand follow the nature.
problems.
content. presentation.
Effective teamwork. The
final product represents
Presentation a result of
Obvious that the Students worked together something that would
a group effort, but have been impossible to
presentation was and were assigned
only some members accomplish working
created by one different roles
contributed alone.
person 
Students select group
Students select group
Collaboration Students make poor members based on good Students select group
members according to members based on good
choices for group working relationships.
social desires. Some
members. The All students in the group working relationships. All
students in the group
group is unable to participate actively 100% students in the group
participate actively.
complete the video of the time. Most students participate actively 100%
Few students excel in of the time. Each student
in a timely fashion excel in the activities
the activities excels in every activity
 

References
Francisca Reyes Aquino- Philippine National Dances (1946
Folk Dances of the Philippines Volume 6 by Vicki Corona
Folk Dances of the Philippines by Vicki Corona (1989, Paperback)Vicki Corona
Life of Francisca Reyes Aquino by the National Commission for Culture and Arts

http://gwhs-stg02.i.gov.ph/~s2govnccaph/
https://www.goodreads.com/book/show/15010013-folk-dances-of-the-philippines-vol-vi
https://www.scribd.com/presentation/424588285/Folk-Dance-Mapeh-7
https://books.google.com.ph/books/about/Philippine_folk_dances.html?
id=emz1AAAAMAAJ&redir_esc=y
https://www.slideshare.net/odelljulian/folkdance
http://gwhs-stg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture-profile/national-artists-
of-the-philippines/francisca-reyes-aquino/