PHYSICAL EDUCATION II – MODULE 1 Page 1

Unit 1
RHYTHMIC ACTIVITIES

This unit is prepared for students to gain knowledge on the importance of rhythmic
activities,
the role it plays in the development of nationalism, and the preservation of our
cultural heritage.
It will help the students to improve self-expression through dance interpretation,
creating and
performing simple movements.
OBJECTIVES

At the end of this unit, the students are expected to:

1. Learn and understand the terms used in this subject;

2. Discuss and explain the meaning of dance/rhythmic movements and fundamental
dance steps;
and
4. show interest and appreciation in the class activities.
DEFINATION

For better understanding of the discussions the follow, the following terms are
hereunder
defined:
Rhythm - is a measured motion or flow, characterized basically by
Rhythms - denote as aspect of quality of movement, which is sometimes as a dance.
Structured
forms, which start creative rhythmic movements, are sometimes are called rhythm.
Dancing – is a means of expressing one’s emotions through movements disciplined by
rhythm.
It is an act of moving rhythmically and expressively to an accompaniment. The word
dancing
originated from the German word “damson” which means to stretch. All dancing is
basically
made up of stretching and relaxing movements.
Dance – is a series of movements set to music where the emerge organization,
structure, and
pattern.

SCOPE OF RHYTHMIC ACTIVITIES

RHYTHMIC ACTIVITIES

Is the response of a person displaying his emotional and mental reaction to

rhythm. In all
nature, every individual makes rhythm like foot tapping, head movement, body sway
while a
music is playing. In other words, the body moves as a physical response or as an
expression of
feeling and the fundamentals principles of time, space, and force are observe.

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FUNDAMENTALS OF RHYTHM

To better facilitate the learning of dances and other rhythmic activities, we

should first
understand the elements of rhythm, elements of movements space, and the qualities
of
movements ( Andin and minas, 2004).

ELEMENTS OF RHYTHM

1. Underlying Beat or pulse Beat. The underlying beat is the steady continuous
sound that
heard or felt thought any rhythmical sequence. The constant pulsation is called the
pulse beat. It
is steady sound which serves as the constant measure upon which all rhythmic
structure or
relationship depends. The underlying beat determines the time signature of a piece
of music or
movements.
2. Measure. This refers to the identical grouping of underlying beats.
3. Rhythmic Pattern. This refers to a definite grouping of sounds or beats related
to the
underlying beat. It also called the melody pattern because the rhythmic pattern
follows the word
or melody.
4. Phrasing. A musical phrase is a group of measure that gives the feeling of
unity. The end of a
phrase may suggest a change in direction of movement.
5. Accent. This is the force or emphasis given to any one beat in a series of pulse
beats in a
measure.
6. Tempo. This is the rate of speed of the movements, music or accompaniment.
7. Intensity. This is the quality of movements or music. It refers to dynamics or
force such as
heavy or light.

FUNDAMENTAL MOVEMENTS

There are three basic natural movements: the locomotor, nonlocomotor or axial
movements,
and the manipulative skills (Andin and Minas, 2004).
: Locomotor movements - are used to move the body from one to another or to project
the body
upward as in jumping and hopping.
Examples of Locomotor Movements
Walking Running Jumping
Hopping skipping Leaping
Galloping Sliding Draw steps
Marching Trotting Stamping
Twirling

: Non-Locomotor movements – are performed without appreciable movements from to

place or
movements of the various parts of the body in fixed base.
1. Flexion – bending or shorting of the body part occurring at a joint.
Examples: knees bend, full knees bend, trunk forward bend, arms forward bend, head
forward
bend, head sideward bend.
2. Extension – turning, twisting or circling
Examples: head twist, trunk twist

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3. Arm shoulder circling
Examples: right arm circle forward, left arm circle forward, both arms circling
4. Pendular – swinging / swaying arms forward, backward or sideward
Examples: arms swinging sideward, arms swinging overhead, body swaying right and
lift
5. Percussive – striking and hitting; pushing and pulling
Examples: arm strike with closed fist, arm strike with open fist, hit with one
hand, hit with both
hands
6. Vibratory – shaking and beating
Examples: shake arms and hands rhythmically, shake hips and shoulders to rhythmic
pattern,
vibrate entire body rhythmically.
7. Sustained – s slow, smooth flowing movements with a balance of movement
throughout the
entire series.
Example: arms swinging continuously from side to side, arms moving laterally to
right and left
side in a continuous rhythmic pattern, arm circle swing continuously.
8. Suspended – a sharp movement fallowed by a series of a slow or prolonged
movements until a
speak is reached
Example: both arms circle swing three to four times counterclockwise and stop
movement with
arms diagonally forward, upward.

: Manipulative skills – involve object handling that develops manipulative skills

like ball skills.
Other object promote other skills like better hand and eye and coordination.

BASIC DANCE POSITION OF ARMS AND FEET

There are five fundamentals feet and arms positions in dance.

POSITION FEET
ARMS
1st position Heels close together; toes Both raised
forward in a circle
apart with an angle of about in front of
chest with the
45 degrees fingertips
about an inch apart.
2nd position Astride sideward about a pace Both raised
sideward with a
or 1 foot distance graceful curve
at shoulder
level
3rd position Heel of one foot close to in- One arm raised
sideward as in
step of other foot 2nd position;
other arm raised
upward.
4th position One foot in front of the other One arm raised
in front as in
of a pace distance 1st position;
other arm raised
over head
5th position Heel of front foot close to big Both arms
raised over head
toe or rear foot

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BASIC CONCEPTS OF MOVEMENT, MOVEMENT SPACE, AND RHYTHM

Movement is a change of position in space. This is governed by mechanical

principles
that limit the ability of an individual to move effectively and efficiently.

FACTORS THAT GOVERN OR AFFECT MOVEMENT:

1. Psychological Factors. Fear, anxiety, and other mental phenomena affect

movement
either positively or negatively. All these may affect the performance of an
individual.
2. Physiological Factors. Physical fitness and body built are two main concerns
that affect
human movement. Poor muscle development and low fitness level will surely
affect
movement.
3. Sociological Factors. These refer to the relationships of the performer with
a particular
group and his regard to social conformity and norms.

MOVEMENT SPACE

All movements take place in space. The two kinds of space occupancy are
personal space
and general space.
Personal space is the maximum space available to a person in a stationary
position. This
includes the space that the person can reach by bending, stretching, and twisting.
General space is the area, which include one or more persons moving space
like
gymnasia, the swimming pool, classrooms, ballroom, plaza, and others.
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Elements of Space

1. Direction. This refers to the movements: forward, backward, upward,

downward,
sideways, right and left, diagonals and combinations of all of these.
2. Level. As the body moves in a horizontal plane, it creates a movement
identified as high,
medium, middle and low. It may be represented in a relative height while
standing,
sitting, lying and kneeling.
3. Range. The maximum reach of an individual or sometimes referred to as
personal space
or the size of movement.
4. Pathways or Space Designs. The line or design created in space as on
moves, examples
of which is an arm circling (circle design is created) or a line drawn
from running to the
first base in softball.
5. Focus. This is referred to as movement is space in relation to an object
or a person’s
attention of direction.

DANCE NOTATION SIGNS/SYMBOLS AND NATION

R Right Foot/arm/hand → Move sideward right

L Left Foot/arm/hand ← Move sideward left
X Boy dancer Move sideward right and left
O Girl dancer Make movement is place
Ct. Count Clockwise direction
M Measures Counterclockwise direction
2x Two times  Diagonally forward right
↔ Distance  Diagonally forward left
 Move forward  Diagonally backward right
 Move backward  Diagonally backward left

SIGNS AND SYMBOLS OF MUSIC

NOTES AND REST VALUES

Whole note 4 beats

Quarter note 1 beat

Sixteenth note 4 to 1 beat

Half note 2 beat

Eight Note 2 to 1 beat

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NOTE PYRAMID

Notes Values and Counts

NOTE VALUE COUNTS

1 and

1 ah

1234

1-2

1,2

1–2 3-4

123

(.) A dot is equivalent to half the value of the note.

PHYSICAL EDUCATION II – MODULE 1 Page 7

 TIME SIGNATURE NOTE PATTERN COUNTS MEASURE
1,2/1-2 2
2/4
1 2/ 1 2 2

1 – 2/ 1 2/ 1 2 3

1-2/ 1 2/ 1 & 2 3

1 – 2, 3 1
3/4
123 1

12&3 1

1 – 2 3/ 1 2 3 2

1234 1
4/4
1–23-4 1

1 -2 3 4/ 1 2 3 4 2

PHYSICAL EDUCATION II – MODULE 1 Page 8

 Unit
II
PHILIPPINE FOLK DANCE

This unit is prepared for students to learn new terminologies and dances,
and to realize
the creativity and rich culture of the Philippine regions. This is also intended to
increase the
awareness and appreciation of the uniqueness of every dance.

OBJECTIVES

At the end of this unit, the students are expected to:

1. Learn new dance steps and terminologies;
2. Accustom with the culture of other people through the study of their
dances, customs,
traditions, musical instruments and arts;
3. Appreciate the value of folk dances as an activity that advocate friendship
and familiarity
among people; and
4. Demonstrate dance skills refinement and confidence

BRIEF HISTORICAL BACKGROUND OF DANCE

Art and religion were the most serious concerns of primitive civilizations.
Although
during the primitive times, their concerns were mainly how to find food and how to
increase its
supply. Unaware of the artistic aspect, they made use of hunting and fishing as
their way of life.
As regards religion, they believed that the supernatural beings govern their fate.
So, to express
their feelings, they created rhythmic movements by stamping, shaking their bodies,
chanting and
other bodily expressions with the use of natural accompaniment. They employed wood,
bamboo,
dried leaves, and other things to accompany their rhythmic movements which
developed into
dance by generally perpetuating the movement and passing the tradition to the next
generation.
The interweaving factors of rhythmic created the dance and later developed into
high quality
movement and became part of an establishment art form up to this time.

CHARACTERISTICS OF PHILIPPINE FOLK DANCES

1. As a rule, Philippine folk dances begin and end with a saludo.

2. In general, dancers are far apart. A distance of about 6-8ft. from each
other is normal.
3. There is very little, if any, body contact although holding hands in
common.
4. Most of the dances are done in pairs and hand movements play a very
important role.
5. Many of our dances are done in long formation.
6. Our dances are performed by both young and old, and by both sexes.
PHYSICAL EDUCATION II – MODULE 1
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CLASSIFICATIONS OF THE PHILIPPINE FOLK DANCES ACCORDING TO
ITS NATURE

1. Occupational Dances – depicting action of certain occupation, industry, or

human labor.
Examples: Planting, harvesting, pounding, etc.
2. Religious or Ceremonial Dances – performed in connection with religious vows
and
ceremonies. Examples: Putong, Sta. Clarang Pinung-pino
3. Comic Dances – depicting funny movements for entertainment. Example: Kinoton
4. Game Dances – done with play elements (dance mixers). Examples: Pabo, Lubi-
lubi
5. Courtship Dances – depicting love making. Examples: Hele-Hele, Bago
6. Wedding Dances – performed during wedding feast. Examples: Pandang-Pandang,
Pantomina
7. Festival Dances – suitable for special occasions or any social gathering.
Examples:
Kuratsa, La jota, Pandango
8. War Dances – showing imaginary combat or duel. Examples: Sasgayan, Palo-Palo.

DANCE FORMS

1. Classical Dance – dances with standardized rules and restrictions. It can be

religious-
related dance or for court and royal entertainment.
2. Classical Ballet – a dance of supreme standards learned form an academe. This
originated from Italy from the word Bal-lo meaning to dance and flourished
in the royal
court of France.
3. Modern Dance – a deviation from the principles of classical ballet developed
by Isadora
Duncan. This is characterized by natural and true expression of the human
body and soul.
4. Contemporary Dance – a combination of ballet and modern dance.
5. Folk Dance – a cultural art form handed down from generation to generation.
It
communicates the customs, beliefs, rituals and occupation of a region or
country. Folk
dancing belongs to and emanates from the people.
6. Ethnic and Tribal Dance – a dance particularly found in a group of people
living
together in a locality with common beliefs and customs.
7. Recreational Dance – includes dance mixers, square dancing and round and
round
couple dances.
8. Social and Ballroom Dance – a dance set in a social gathering with more
formal
atmosphere than the simple and informal parties in which the recreational
dances are the
usual forms. This is usually held in the evenings and participants are
usually in formal
attire for purposes of recreation and entertainment.
9. Creative Dance – the highest form of dance for the purpose of entertainment.
It is the
end product of movement exploration and improvisation as the dancer or
choreographer
expresses his/her feelings, ideas and interpretation. The principles of an
art form are all
 observed in the composition of this dance.
10. Popular Dance – highly recognized as a dance form in television and other
dance centers
like disco houses and social gatherings.

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COMMON DANCE TERMS

 Accented walking steps – heavy walking steps

 Do-si-do – 8 waltz steps ↑ passing R shoulder with partner and 8 waltz steps
↓ passing L
shoulder with partner
 Engano with a close – step R → (cts. 1,2) cross and step L across R in front
(ct.3); step R
→ (ct. 1) close L to R (cts. 2,3)
 Free Foot – the foot not supporting the weight of the body.
 Free Hand – the hand is not doing anything.
 Habanera Step – Step R in place or to any desired direction (ct.1); close L
to R (ct.2); step
R in place (ct. and).
 Habanera with a point brush – one habanera step (1M); point L sideward;
(ct.1,2) brush
the pointing foot briskly backward (ct. and).
 Inside Foot – the foot nears one’s partner when they stand side by side.
 Inside Hand – the hand nears one’s partner when they stand side by side.
 Iskrats – ball of one foot placed firmly on the floor while other foot is
pushed heavily
backward and slightly upward as if making a scratch; a slight bending of the
knee of the
other leg as the scratch is made makes the movement better.
 Kewet – closed fist with the thumb firmly sticking out and moved from the
wrist or
elbow.
 Kinewetan – raise R foot moving it in half – circle and step R, close L to R
(ct. 2), step R
(ct. 3).
 Masiwak – is the movement of the half-closed fist from the wrist in a or a
direction and
with a rising and lowering of the wrist once.
 Outside Foot – the foot away from one’s partner when they stand side by
side.
 Parallel Tortillier – Move soles of both feet and pivot on heels to sideward
R (cts. 1,2);
pivot on soled of feet to move heels sideward R (ct. 3). Repeat as desired.
 Pangangawak – rhythmic counting: one, and two, and ah, three and four

Foot work: With the body slightly twisted obliquely left, step R ↑ with knee
slightly bent,
raising L foot (ct.1, and ); step L in place slightly raising R (cts. 2, and
ah); step R foot in
rear of L slightly twisting body obliquely right (cts. 3, and ); stamp L
foot in front,
bending trunk forward (ct.4).
Arm movement: Hands on waist.
 Panginginapay – rhythmic counting; one, and two, and ah, three and four

Foot work: with body slightly twisted obliquely left, step R with knee
slightly bent,
raising L foot (ct. 1, and); step L in place (cts. 2); step R foot in rear
of L slightly twisting
body obliquely right (cts. Amd, ah 3); L in place (ct.4).
Arm movement: Raise both arms in front at shoulder level, wrist leading palm
facing up
 and rotate forearms and wrist inward-outward finish fingers pointing up
(ct.1 & 2). Open
to second position and repeat same movement (ct. and, ah, 3 & 4)
 Pangingiray – rhythmic counting; one, two, three, four

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 Foot work: With foot on a stride position, tap R (L) foot four (4) times in
place, (cts.
1,2,3,4). Place R hand in the forehead, as if looking for something, then
slowly moving
trunk to sideward R (L), trunk bend forward.
Arm movement: Encircle R (L) waist forward – upward, finish placing palms on
the
forehead, palms facing outward, (cts. 1,2); Slowly move arms and trunk to
sideward R
(L) as if looking for something, trunk bend forward (cts. 3,4).
 Rock Steps – step R in front (ct.1) transfer weight onto L foot in rear (ct.
and) repeat as
many times as desired with feet in place and transferring only the weight
from front to
rear.
 Sangig – step R (ct.1) close L (ct.2); raise R foot slightly and move it
inward in air (ct.
and).
 Waltz balance – step R ↑ or → (ct. 2); close L to R and move it inward in
air (ct. and).
 Waltz Step – step R → (ct. 1), close L to R in rear (ct. 2), step R in place
(ct. 3).

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 BALANGBANG

Balangbang is a Pangasinan term which refers to the farmer’s waist. It is

said to be the
most painful part of the body after working in the rice fields due to the
continuous bending
during planting and harvesting rice. Farmers say that they are very much relieved
when they
dance and shout “Balangbang.”

COSTUME

 Girl – Kimona with long and sleeves; a panuelo placed over the left
shoulder; a long
peasant ankle length skirt.
 Boy – Camisa de chino with colored trousers and a handkerchief tied around
the head.

Both are barefooted.

MUSIC

 2/4 rhythm and composed of 2 parts A and B

FORMATION
Audience
X O
6”

BASIC POSITIONSS/MOVEMENTS:

1. Kewet 2. Iskrats
3. Change Step 4. Bleking

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 Dance Steps/Feet Movement Arm/Hand Positions/Movement M
INTRODUCTION
Music Introduction
Partners face each other.

a. 4 steps ↑ to meet hands on waist. 2M

partner at center
b. 8 steps Join both hands with partner. 4M
c. 3 steps ↓ moving to proper Hands on waist. 2M
places; pause. Bow to partner with arms
in 2nd position and kewet hands.

FIGURE I
Music A
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Cross-change step with Hands on waist. 2M

R and 3 iskrats with L
beside R.
b. 2 change steps L, R Kewet L, R alternately overhead 2M
c. Repeat (a) and (b) 4M
d. Partners face R with L 8M
shoulders toward each other.
Repeat all (a – c)
then shout “Balangbang”

FIGURE II
Music B
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Stand Hands on waist and rotate 4M

trunk and 
b. 3 small steps ↑; point L Kewet R hand overhead when 2M
in rear. pointing foot with trunk
slightly bent on L.
c. 3 small steps ↓ starting Kewet L hand overhead when 2M
with L to be R to R shoulders pointing foot
with partner point R in rear.
d. Repeat (a). 4M
e. 4 steps ↓ to proper place Hands on waist 4M
3-step turn R;
pause.

PHYSICAL EDUCATION II – MODULE 1 Page 14

FIGURE III
Music A
Partners face left.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Change step R → (1M); Hands on waist. 2M

Point L ← (ct.1); point L
lose to R (ct. and); point
L → (ct. and);
b. Repeat (a) with L and point R.
c. Repeat (a)
d. 3-step turn L to proper places
and finish facing opposite
direction.
e. Repeat all (a-d) with reverse
feet and direction; shout
“Balangbang” on last ct.
Bend R arm at shoulder
level on ct; jerk elbow
downward close to waist
on ct. and; raise elbow
to shoulder level on ct.2.
Reverse arm position. 2M
2M
Hands on waist. 2M
Reverse arm position 8M

FIGURE IV
Music B
Partners face audience.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Stand Hands on waist and rotate 4M

trunk and 
b. 3-step turn to the R and Hands on waist. 2M
and hop on R with L raised
in rear.
c. Repeat all (a-c) with reverse 2M
direction.
d. Repeat all (a-c) with reverse 8M
direction.

Interlude
Simultaneous movements of Boy and Girl.
Boy: Kneel on R. Hands on waist and rotate 4M
trunk and 
Girl: Running steps going
around partner.

PHYSICAL EDUCATION II – MODULE 1 Page 15

FIGURE V
Music A
Partners face each other.

Simultaneous movements of Boy and Girl.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
Girl:
a. 2 change steps R, L. Hands on waist
2M
b. Bleking steps 2x with R Hands on waist
4M
in front.
c. 2 change steps L, R: Same
4M
Boy:
a. Kneel on R knee. Clap hands 2x on each side R, L
alternately 8M
Girl and boy exchange movements, on last ct. shout “Balangbang.”

FIGURE VI
Music A
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
a. 16 running steps moving Join both hands and pull each other
4M
around with partner
finishing in proper places.
b. 3 steps sideward → and Same
2M
raise L in rear.
c. Repeat (b) to the left; raise R.
2M
d. Repeat all (a-c) and reverse
8M
feet direction.

FIGURE VII
Music B
Partners face audience.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
a. 8 running steps ↑: repeat Join inside hands and sway downward
4M
moving ↓ and upward alternately
b. 3 steps sideward R (1M); Same
2M
point L in rear (1)
c. Repeat (b) starting with L
2M
d. Repeat all (a-c)
8M
PHYSICAL EDUCATION II – MODULE 1
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FINALE
Music Introduction
Partners face audience.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Boy: Stand Join inside hands and raise 3M
Girl: Whirl turn 3x under arch to form an arch
of arms.
b. Boy and Girl exchange movements 3M
c. Bothe step R ↑ and pause. Bow to audience in 2nd position. 2M

PHYSICAL EDUCATION II – MODULE 1 Page 17

 ESTUDIANTINA DE CAPULEÑO

This dance is usually performed during occasions like baptismal, wedding,

birthday
parties, and even during town fiestas. It is very popular in the town of Capul as
well as in the
nearby town of Allen, Lavesares, and Victoria in Samar.

COSTUME:
Girl – Maria Clara or any typical Capuleño costume
Boy – Barong Tagalog and white pants

MUSIC:
¾ rhythm and composed of 3 parts: A,B, and C

FORMATION:
Audience
X O
6”

INTRODUCTION
Music Introduction
Partners face each other.

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Page 18
 Dance Steps/Feet Movement Arm/Hand Positions/Movement M
a. 3-steps turn R ; pause. Girl: Hold skirt. 2M
Boy: Hand on waist.
Bow to partner.

FIGURE I
Music A
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. 4 sway balance with a close. Arms in 4th position 8M
b. 6 waltz steps moving with Arm in lateral position shoulder 6M
Partner and finish in proper level.
Places.
c. 3-step turn R ; pause. Girl: Hold skirt. 2M
Boy: Hand on waist.
d. Repeat all (a-c) starting L. 16M

FIGURE II
Music B
Partners face each other.

Dancers Steps/Feet Movement Arms/Hand Positions/Movement M

a. 4 waltz steps ↑ to meet partner Arm in lateral position shoulder 4M
at center. Level
b. 4 brush steps turning R . Kumintang hand overhead, L holding 4M
Skirt/ on waist.
c. 4 waltz steps ↓ to partner’s Arm in lateral position shoulder 4M
Original place. Finish facing level.
partner.
d. Repeat (b). 4M
e. Repeat all (a-d) and finish 16M
in proper places.

FIGURE III
Music C
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. 2 sway balance with a point Arms in 4th position 4M
b. Partners face L 3 steps → Same 2M
R; point L in front.
c. Repeat (b) 3x more alternately Reverse arm positions. 6M
L ←, R →, L ←.
d. Face partner. 4 waltz steps to Arms in lateral position shoulder 4M
Partner’s place; finish facing
each other.
PHYSICAL EDUCATION II – MODULE 1 Page
19
 e. Repeat all (a-d) and finish in proper places.

FIGURE IV
Music A
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
a. 8 waltz steps around moving in Arms in lateral position shoulder
8M
Circle with partner.
b. Turn R about and repeat (a)
8M
moving with partner.
c. Repeat (a) and (b) and finish in
original places.

FIGURE V
Music B
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
a. 4 waltz steps ↑ to meet partner Arms in lateral position shoulder
level. 4M
at center.
b. 2 waltz steps . Join R hands.
2M
c. 2 waltz steps ↑ to partner’s Turn under and release hold.
2M
place.
d. Repeat all (a-c) and finish
8M
in proper places.
e. Repeat all (a-d).
16M

FIGURE VI
Music C
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
a. Repeat Figure III.
32M

SALUDO
Music Saludo
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
a. 3-step turn R; pause Girl: Hold Skirt.
2M
Boy: Hands on waist. Bow to
partner on pause.
PHYSICAL EDUCATION II – MODULE 1
Page 20
 KUMINTANG

During the Spanish regime, the parents of the rich conservative families
strictly
prohibited their daughters called colegialas to mingle with the opposite sex. There
were times,
however, when these girls were allowed to go to the town plaza by themselves. It
was during
such times that they experienced flirting with the boys.
This dance, which originated from the provinces of Batangas portrays the
modest
behavior as well as the flirtatious movement of the girl while being courted by an
admirer.

COSUTME:
Girl – Maria Clara or serpentine with butterfly sleeves and panuelo
Boy – Barong Tagalog with black pants

MUSIC:
2/4 rhythm and composed of 3 partners: A, B, and C.

FORMATION:
Audience
X O
4’

BASIC DANCE STEPS:

1. Habanera steps
2. Habanera with point brush
3. Sangig

ENTRANCE
Music A
Boys and Girls stand at opposite side of stage.

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 Dance Steps/Feet Movement
a. Boy enters: 4 steps ↑ (2M);
2 change steps ↑ (2M).
b. Repeat (a) to finish at center
of stage facing audience.
c. Girl enters: Repeat (a) and (b)
movements of Boy, finishing
at R side of partner and facing
audience.
Arm/Hand Positions/Movement M
Hands move naturally at sides. 4M
4M
Hold skirt as hands exaggerate 8M
movements by raising skirt up
and down slightly and rhythmically
with steps.

FIGURE I
Music B
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

Boy watches admiringly as Girl dances.

Girl:
a. 4 steps ↑ and 2 changes Hold skirt and raise it slightly 4M
steps ↑. And rhythmically with steps.
b. Repeat (a) ↓ to partner’s 8M
side (4M); repeat movements
↑(4M).
c. 4 steps ↓ and 3-step turn R ↓ Same 4M
To proper places beside Bow to partner.
partner; pause.

FIGURE II
Music C
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Habanera with a point-brush ↑; Girl: Hold Skirt. 4M
repeat  retracting steps Boy: Hands face partner
to original position. when pointing foot.

Audience

X O

PHYSICAL EDUCATION II – MODULE 1 Page

22
 b. Habanera with a point brush ↑ Same 4M
passing R shoulder of partner
to finish in back-to-back
position. Repeat movement ↓
passing L shoulder and back
to proper places.

Audience

X O

c. Habanera with a point-brush Same 4M

→; repeat to ←
d. Stamp-step R ↑ (ct.1); Clap both hands with partner 1M
step L once ↓ (ct.2); once; continue to circle hands
close R to L (ct. and). outward and back to chest level.
e. Repeat (d) with L. 1M
f. 2 habanera steps with girl Join R hands. 2M
turning under arched hands
finishing in front of Boy
facing the same direction.

FIGURE III
Music D
Girl stands in front of Boy.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. 2 sangig steps with R (2M) Join R and L hands. 4M
Habanera with a point-brush
→.
b. Repeat (a) with L ← 4M
c. 2 Habanera steps ↓ Girl: Hold skirt. 2M
to proper places. Boy: Hands on waist.
d. 2 touch steps R, alternately Arms in 4th position L, 2M
in front. R hand high alternately.
e. Repeat (d) and (e) of 2M
Figure II (sangig steps).
f. 2 habanera steps Girl: Hold skirt. 2M
turning Boy: Hands on waist.

PHYSICAL EDUCATION II – MODULE 1 Page 23

FIGURE IV
Music C
Partners face each other.

Dance Steps/Feet Movement Arm/Hands Positions/Movement M

a. Repeat (a-e) of Figure II. 14M
b. 2 habanera steps turning Girl: Hold skirt. 2M
Boy: Hands on waist.

FIGURE V
Music D
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Habanera step R ↑,
habanera step L ↓.
b. Repeat (a)
c. 4 habanera steps with
Girl turning R and finish
R to R shoulders with Boy
so a window is formed.
d. 6 habanera steps moving
with partner.
e. 2 habanera steps ↓to
proper places.
Join both hands and raise 2M
or stretch arms sideward;
stretch arms in front.
2M
Join R and L hands; raise 4M
joined hands to form a window.
Look at each other through 6M
window formed.
Girl: Hold skirt. 2M
Boy: Hands on waist.

FIGURE VI
Music A
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. 4 steps ↓ to move away from Girl: Hold skirt. 4M
partner . 4 steps ↑ toward Boy: Hands on waist.
partner. Exaggerate hand and shoulder
movements with each step.
b. Step R → and curtsy L Raise arms to sides at waist 4M
in rear; step L ← and level to curtsy.
curtsy R in rear.
c. Repeat (a) and (b). 8M
d. 4 steps and 4 chasing steps Same 4M
to partner’s place passing R
shoulders; finish facing partner.
e. Repeat (d) to proper places. 4M
f. Repeat (d) and (e). 8M

PHYSICAL EDUCATION II – MODULE 1 Page 24

FINALE
Music Finale
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Both turn under arched Joined both hands. Bow to 2M
arms and feet together. Audience.

PHYSICAL EDUCATION II – MODULE 1 Page 25

 LAB-PAD

(Livunganen – Arumanen Manobo)

Dance Researcher: Prof. Flora M. Garcia

Resource Person: Mrs. Feliza Rangaban
Meaning: “To dance”
Dance Culture: Highland, Ethnic

BACKGROUND/CONTEXT:
This dance originated from among the Livunganen-Aromanen Manobos residing
at
Libungan River Valley, particularly in Barongis Libungan, Cotabato. The early home
of the tribe
was in Aruman, a barrio of Carmen, North Cotabato. Because of famine, some of the
members of
the tribe transferred to Libungan and finally settled in Barongis where the seat of
culture is
found. The ladies of the tribe usually perform this dance during important
gatherings like
Samayan and Bulangan Festivals celebrated annually by the cultural communities in
the
province.

BASIC DANCE STEPS USED:

1. Pangangawak
2. Panginginapay
3. Tarupak
4. Pangingiray

DANCE PROPERTIES:
Typical Manobo Livunganen-Arumanen attire:
Top: Bright colored long sleeve blouse with V neckline and ruffles gathered
at the
waist. The blouse is embroidered with colorful designs.
Skirt: Any printed malong
Accessories: Choker beads on the neck, arms, head, and feet.

MUSIC:
A. 1 & 2 ah 3, 4
B. 1 & 2 and 3, 4
C. 1 2 3 4

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MUSICAL INSTRUMENTS:
Agong or Gibba (drum)

FORMATION:
Vertical, Horizontal, Circle

FIGURE I

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. 8 pangangawak dance steps Hands on waist 8M
moving center of stage
b. Repeat (a) 8 times more, Same arm movement 8M
finish forming two columns.

FIGURE II

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Using panginginapay steps, Panginginapay 8M
the front girls in the column movement
dance forward inward between
the columns followed by the
rest of girls. Dancers continue
moving until the first girls reach
the original place of the last girl
in the line. See Diagram A.
Diagram A.

O O

O O

O O

b. Using same movement, Same arm movements 8M

the dancers cast off and return
to their original places.
(See diagram B).
Diagram B.
O O

O O

O O

PHYSICAL EDUCATION II – MODULE 1 Page 27

FIGURE III

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Using pangangawak steps, Same arm movement 4M
each column moves
to sideward R and L
facing audience to form
horizontal lines as in
diagram C.
Diagram C.

A B
O O O O O O O O

b. Column A executes 4 Tarupak arm movement 4M

tarupak R (L) left step
moving away from audience.
c. Repeat (b) doing reverse Same arm movement 4M
position, finish all facing
audience.
d. 4 pangingiray movement R Pangingiray arm movement 4M
and L.

FIGURE IV

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. 4 pangangawak steps to form Pangangawak arm movement 4M
Form 1 big circle. Finish facing
inside the circle.
b. 2 pangingipay steps moving Same arm movement 2M
inward the circle.
c. Turn-right about and Same arm movement 2M
repeat (b).
d. Repeat same movement Arm movement 8M
moving clockwise, finish
forming two groups as in
diagram D.
Diagram D.
A B

O O O O
O O O O

PHYSICAL EDUCATION II – MODULE 1 Page 28

FIGURE V
The movement shall be done simultaneously.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
Group A
a. Sitting Position a. Panginginapay hand/arm
2M
movements
b. Raise arms in f ront, R fingers
1M
pointing downward, L finger
doing the reverse (ct.1 and);
reverse position of finger (ct.2 and);
repeat same movement of wrist
(cts. 3,4)
c. Repeat (b), arms in 2nd position.
1M
d. Repeat (a and b)
4M
e. Panginginay hand movement (R and L) 4M
f. Repeat (e) slowly rising up to sliding
position
Group B
a. 8 panginginapay steps moving clockwise around group A
8M
b. 8 tarupak steps going counter clockwise
8M

FIGURE VI
a. 4 pangangawak steps forward to form one horizontal line.
4M
b. 4 pangingiray R/L in place
4M
c. 8 tarupak steps moving clockwise to exit.
8M

MUSIC:
/ /

A. Pangangawak/Pangingiray one, and, two, and, ah, three, and, four

/ /

B. Tarupak one, and, two, and three, four

/ /

C. Pangingiray one, two, three, four

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 PANDANGO SA TAPIS

Tapis is a rectangular piece of cloth that peasant women used to wrap

around the waist.
This dance focuses on the tapis to show its different uses, especially when working
in the fields.
It originated in Lingayen, Pangasinan.

COSTUME:
Girl – Peasant skirt with tapis and camisa; panuelo over L shoulder
Boy – Camisa de chino and any colored trousers and a hat

MUSIC:
¾ rhythm and composed of 3 parts: A, B, and C.

FORMATION:
Audience
X O
6”
BASIC DANCE:
1. Kewet
2. Kinewetan

Note: Boy’s hat is on his head from Introduction to Figure IV, and on the
head of Girl
from Figure V to Finale.

INTRODUCTION
Music Introduction
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
a. Kinewetan R Girl: Hold skirt.
1M
Boy: Hands on waist.
b. Hop on R.
1M
c. 3-step turn ← and pause
2M

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 d. Girl: 2 waltz steps moving ↑ Raise tapis slightly upward
2M
Towards Boy and finish in front and downward alternately
of him. in reverse direction of hands
in flirtatious manner.
Boy: Point R  Claps hands on cts. 1, 3 of the M.
e. Girl: 2 waltz steps ↓ to Same
2M
move away from Boy to
proper place.
Boy: Point L . Same
f. Repeat all (a-e) starting
8M
with L.

FIGURE II
Music B
Partners face each other.

Girl unwraps tapis around waist and hold it on corners; Tapis still behind waist.

Dance Steps/Feet Movement Arm/Hand Positions/Movement

M
a. 3 steps R, L, R → point L Girl: Raise R hand holding one
2M
in front. Corner of tapis and L downward
(ct.1); reverse movement (ct.2),
raise R and L down (ct.3);
and same position when
pointing L foot.
Boy: Hands on waist.
b. Repeat (a) starting with L → Reverse hand movements.
2M
c. 4 waltz steps ↑ to meet Same, but on last ct.,
4M
partner at center. boy takes corner of tapis held
by Girl’s hand with his L.
d. 3 brush steps to quarter Kewet hand overhead; this time,
4M
turn R ; finish with L tapis is halfway wrapped around
shoulders; step R → Girl’s waist.
and point L in front.
e. Girl: Slow waltz turn L Hold both corners of tapis
4M
moving away from partner as boy releases hold.
to proper place.
Boy: 2 waltz steps R, L;
Waltz turn ↓ to proper place.

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FIGURE III
Music C
Partners face each other.
Girl holds A and D corners, Boy hold B and C corners.

A B

Tapis

D C

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. 4 cross waltz moving Raise tapis at head level. 4M
to finish in partner’s place.
b. Point R in front (1M); Sway tapis forward audience. 2M
feet together (1M).
c. Waltz turn inward toward Hold tapis overhead. 2M
audience.
d. Repeat all (a-d) finishing 8M
in proper places with Boy
releasing hold of tapis.

FIGURE IV
Music B
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. Girl: Hold corners A and D
waltz steps ↑↓; waltz turn R
Boy: 2 waltz turn moving
About 8 feet away and finish
facing partner.
b. Girl: Step R → (ct.1) and
point L ← (cts. 2, 3).
Repeat movements 3x more
L, R, L.
Boy: 2 close steps → and 2
close steps ←
c. Girl: Repeat (a).
Boy: Kneel-sit on heel and
half-stand on L.
Sway tapis ↑↓: circle tapis 4M
overhead when turning.
Forearm turns.
R hand upward and L downward 4M
Shake tapis 3x.
Reverse hand positions.
Bend trunk on ct. 1 and trunk erect
on cts. 2, 3 of the M.
Look tired and wipe perspiration 4M
on forehead with R hand (1M);
L hand (1M); get hat from head
and use it for fanning (2M).

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 d. Girl: 2 waltz steps R, L.
Boy: Stand up and run
towards partner.
Both feet together.
FIGURE V
Music B
Girl hold A and D corners; Boy holds B and C corners.
Dance Steps/Feet Movement
a. Waltz balance R ↑ and
Waltz balance L ↓.
b. Repeat (a).
c. Rise on toes and mincing
steps turning around
In a circle with partner.
d. Repeat all (a-c) to finish
in proper places.
FIGURE VI
Music C
Partners face audience.
Girl holds A corner with R hand;
Boy holds B corner with L hand.
Dance Steps/Feet Movement
a. 3 steps ↑ and stamp L.
b. Turn about to face opposite
c. Repeat (a) and (b) 3x more.
12M
PHYSICAL EDUCATION II – MODULE 1
Page 33
Sway tapis R and L slides at 4M
shoulder level. Place hat over
girl’s head.
Girl: Wipe perspiration
of Boy with tapis.
Boy: Bend trunk forward.
Arm/hand Positions/Movement M
Raise hands to put corner close 2M
together with partner. Full corners
close to body.
2M
Both hold respective corners 4M
overhead.
8M
Arm/Hand Positions/Movement M
Shake tapis forward when 2M
stamping and shout “shoo”
to drive away the birds.
Transfer hold of corner to other 2M
other hand; shake tapis and
shout “shoo.”
 PANTOMINA MAYOR

This dance originated from the province of Sorsogon. The old folks of the
place believed
that it was introduced during the Spanish regime. It has become a favorable of the
younger adults
because of the graceful and romantic movements.
This is a courtship dance. The boy snaps his fingers as he dances, which
is his expression
of his admiration for the girl he loves.

COSTUME:
Girl – Maria Clara or Balintwak
Boy – Barong Tagalog or Camisa de Chino

MUSIC:
¾ rhythym and composed of 4 parts; A, B, C, and D

FORMATION:
Audience
X O
6”

BASIC DANCE STEPS:

1. Accented walking steps
2. Rock steps
3. Engaño with a close
4. Waltz Balance
5. Parallel Tortillier

INTRODUCTION
Music Introduction
Partners face each other.

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 Dance Steps/Feet Movement Arm/Hand Positions/Movement M
a. 3 –step turn and Girl: Hold skirt. 4M
pause. Boy: Hands on waist.
Bow to partner on 2nd M.

FIGURE I
Music A
Partners face audience.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. 4 accented walking steps ↑. Arms swing naturally 2M
b. 4 rocking steps ↑ on R and ↓ 2M
on L.
c. Repeat (a) and (b) ↓ to proper 4M
place.
d. Face partner; repeat (a) and (b) 4M
moving towards partner’s place
passing R shoulder with partner.
e. Repeat (c) to proper places. 4M
f. Face audience; repeat all (a-e) 10M
but make a 3 step turn R to
proper places instead
of rocking steps on last 2 M.

FIGURE II
Music B
Partners face each other.
Simultaneously movement of Girl and Boy

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

Girl:
a. 2 engaño steps with a Arms in reverse “T” position 4M
close R → and L ←. and kumintang inward on the
close position.
b. 4 waltz steps turning Arms in lateral position with 4M
; finish facing kumintang inward of both
partner. hands.
c. Repeat (a-c); finish 16M
facing partner.
Boy:
a. 4 waltz balance to sideward Arms in lateral position; 4M
R → and L ← alternately make finger-snaps on cts.
2, 3 of every M.
b. 4 waltz steps turning Forearm turns. 4M
R ; finish facing partner.
c. Repeat (a) and (b); finish facing audience. 8M

PHYSICAL EDUCATION II – MODULE 1 Page 35

 d. 2 engaño steps with a Arms in reverse “T” position; 4M
close R and L. make finger-snaps on cts.
2, 3 of every M.
e. 4 waltz steps turning Arms in lateral position with 4M
; finish facing kumintang inward of both
partner. hands.
f. Kneel R with body Clap hands on cts. 2, 3 of every M. 8M
slightly bent forward. every M.

FIGURE III
Music C
Partners face each audience.
Simultaneously movement of Girl and Boy

Dance Steps/Feet Movement Arm/Hand Positions Movement M

Girl:
a. 4 step swings moving ↑ Arms in reverse “T” position 4M
with kumintang inward.
b. 4 waltz steps moving ↑ Arms in lateral position with 4M
to original position Kumintang inward.
c. 4 close steps moving ↑; Same 8M
4 close steps ↓ to original places
Boy:
a. Jump to cross R across L Hands to sides. 1M
b. Bend knees slightly and Arms in 2nd position 7M
bend trunk forward; hold and snap fingers on cts.
to this position for 7M. 2, 3 of every M.
c. 4 close steps ↑. Arms in lateral position 4M
d. 4 places steps ↓ to proper places

FIGURE IV
Music D
Partners face each other.

Dance Steps/Feet Movement Arm/Hand Positions/Movement M

a. 8 parallel tortillier steps Arms in 2nd position with 8M
to sideward → knees slightly bent and trunk
bent forward; kumintang
on every M.
b. 2 step-swings L, R Girl: Hands on waist. 2M
Boy: Hands in waist.
c. 2 waltz steps turning L Forearm turns. 2M
to original place.
d. 6 turning steps to partner’s Arms at sides. 2M
place moving in a semi-circle.

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 e. Boy: kneel on R. Forearms turns 2M
Girl: Waltz turn R
f. Repeat all (a-e) 16M

Note: Use last M to bow to audience.

PHYSICAL EDUCATION II – MODULE 1 Page 37