LYCEUM OF THE EAST-AURORA

3202 BRGY. FLORIDA, MARIA AURORA, AURORA

S.Y. 2020-2021
SENIOR HIGH SCHOOL

PE 3
MODULE 1
Week 1-3
Lesson 1:

Content Standard

 The learners demonstrate an understanding of Dance in optimizing one’s health; as requisite for physical activity
assessment performance, and as a career opportunity.

Performance Standard

 The Learners leads dance events with proficiency and confidence resulting in independent pursuit and in
influencing others positively

Learning Competency

 Self-assesses health-related fitness (HRF). status, barriers to physical activity assessment participation and one’s
diet (PEH12FH-Ig-i-6 )
 Sets FITT goals based on training principles to achieve and/or maintain HRF ( PEH12FH-Ii-j-7)
 Engages in moderate to vigorous physical activities (MVPAs) for at least 60 minutes most days of the week in a
variety of settings in- and out-of school (PEH12FH-Ia-t-8)
 Analyzes physiological indicators such as heart rate, rate of perceived exertion and pacing associated with
MVPAs to monitor and/or adjust participation or effort (PEH12FH-Ik-t-9)

INSTRUCTION/PRACTICE

Dance refers to a series of movements that matches the speed and rhythm of a piece of music. It can also
be defined as a performing art form which is composed of sequences of human movement that are selected
according to purpose. It can either be aesthetic or symbolic depending on the culture being projected.

Dance is also a medium that can be used by humans to communicate with one another through body
movements. It is like the colors, shapes, and textures that a painter uses to express emotions, feelings, and ideas.
Early Filipinos considered dancing as a religious activity. It was performed during occasions in thanksgiving for
a bountiful harvest, in celebration of a triumphant battle, in praying for a safe and prosperous voyage, and in
recovery from sickness.

Dancing promotes grace and skills in movement. To dance is to move the body rhythmically, especially
the feet and the arms. Dancing is typically done with music by the young and old alike. They react to music by
swaying their arms and hips, snapping their fingers, tapping their feet on the floor, and humming to the melody.
Dancing can also be a way to express patriotism and nationalism.

In this unit, you will learn the nature and origin of traditional folk dance, ethnic dance, modern dance,
contemporary dance, and ballroom dance. You will also develop graceful and rhythmic coordination of body
movements to improve posture and to manage stress. You will perform various kinds of dances as well as
understand the value of optimizing one's health through dancing.
LESSON 1. TRADITIONAL FOLKDANCE

Traditional folk dance is a dance that has arisen from the cultural traditions of the people of a certain country or
region. It reflects the life of the people and is passed down from one generation to another. Some examples of traditional
folk dance in the Philippines are tinikling and subli.

What are the different types of Philippine folk dances?

There are several ways to classify Philippine folk dances. According to Francisca Reyes-Aquino, Folk dances
may be classified by geographical extent of origin, nature, speed of movement on, and distinguishing feature. Lately,
folkloric specialists merged regional and functional classifications to sort out the different dance materials (Lopez, 2006).

The three major regional classifications of Philippine folk dances are tribal dances from the
Cordilleras, dances from lowland Christians, and Muslim dances.

1. Tribal dances from the Cordilleras- include non-Christian dances from the Cordillera
2. Lowland Christian dances - dances coming from places with Western influences such
as that of the Tagalogs, llokanos, Pampanqueños, Pangasinense, Visayans, and Bicolonas. These dances are
influenced by Hispanic and European cultures.
3. Muslim dances - dances from the people of the Southern Islands of the Philippines. Such as in Mindanao and
Sulu. These dances are influenced by Arabic and Indo-Malayan
cultures.

Philippine folk dances, regardless of their classifications, may also be categorized as:

1. Life-cycle dances- dances that serve as ritual as one passes to a different stage in life such as from birth to
childhood to adulthood; from singlehood to marriage; and from life to death. Below are the different dances that
portray life cycle:
a. courtship dances
b. wedding dances
c. funeral dances
2. Festival dances - dances that are either religious or secular and are connected with the celebration of recurring
events of special significance.
3. Occupational dances - dances that depict the means of livelihood of the Filipino people. Palay festival, a national
dance in rice-growing regions, is an example of an occupational dance wherein dancers portray different steps in
rice growing-from planting to harvesting to threshing, flailing, pounding, airing and winnowing (Aquino, 1979).
4. Ritual and ceremonial dances- dances performed as part of the rituals and ceremonies of a certain tribe or group
of people.
5. Game dances derivations from local folk games. One example of these dances is the
Pukol dance from Aklan and Capiz in the Panay region. Pukol means "to strike or bump
each other"(Aquino, 1979).
6. Joke and trickster dances include jokes or tricks played by a dancer on another group of dancers who is one of
them. The intention is to render that individual "to a physical or mental indignity or discomfort" (Lopez, 2006).
Example of these is the Pandanago sa Sambalilo dance from the Tagalog regions wherein a girl teases her male
partner by playing with his hat then pushes him when he is about to succeed in getting back and putting on his hat
from the floor.
7. Mimetic or drama dances - dances that mimic animals, inanimate objects, or other people. The dancers get into
roles other than themselves and become actors totally immersed in the story the dances tell. The ltik-tik dance
from Surigao is an example of a mimetic dance as it imitates the movements of a duck.
8. War dances -dances that express feud and enmity wherein two male dancers engage in physical combat with
Spartan-like intensity (Lopez, 2006). Maglalatik (Biñan, Laguna) is an example of a war dance as this depicts a
battle between Muslims of southern Philippines and the Christian Filipinos of the lowlands over latik (the residue
after coconut boils down). In this dance, the Muslim won and the Christians sought conciliation in order to
convert the Muslim Moros to Christianity (Aquino, 1979).
9. Social amenities dances - dances that express social graces, hospitality, and offerings of gifts to friends. All
social ballroom dances and most of the "Filipinized" Western dances that show camaraderie merriment belong to
this group (Lopez, 2006). Examples are Minuete Yano (lriga, Camarines sun), Alay (Tagalog regions), and
Habanera Botoleña (Botolan, Zambales) dances. Minuete Yano, for instance, is performed by people from high
social standing in the community during special occasions honoring high government officials and church
dignitaries (Aquino, 1979).
The fundamental folk dance steps

Most folk dances are based on several fundamental dance steps. According to Lopez (2006), Philippine folk
dances should have simple, basic rhythm that dominates the dance and establishes the pattern of movement. With this, it is
imperative to review and learn the different fundamental dance steps in order to perform several folk dances. The origin of
these steps varies and depends on the influences of different cultures. The following are some of the fundamental steps
that are useful in learning how to perform folk dances.

Rhythmic
Time
Dance step Counts per Step-by-step Description
Signature
Measure
Waltz ¾ Time 1,2,3 (count 1) Step left (right) foot in fourth position in front
(count 2) Step right (Left) close ro left (right) in first position or
third position in rear
(count 3) Step left (right) in fourth position in front
Gallop 2/4 Time 1, ah, 2, ah (count 1) Step right (left)foot in fourth position in front,
(count ah) cut the right (left)foot with the left (right) thus displacing
it and at the same time taking the weight of the body with the
left(right) foot,
(Counts 2,ah)repeat counts 1 and ah
FUNDAMENTAL DANCE POSITIONS

            There are five fundamental or basic positions in dance that are commonly termed as 1st position, 2nd position, 3rd
position, 4th position, and 5th position of the feet and arms.
1st position
                        Feet: Heels close together, toes apart with an angle of about 45 degrees.
                        Arms: Both arms raised in a circle in front of chest with the finger tips about an inch apart.
2nd position
                        Feet: Feet apart sideward of about a pace distance.
                        Arms: Both raised sideward with a graceful curve at shoulder level.

3rd position
                        Feet: Heel of one foot close to in-step of other foot.
                        Arms: One arm raised in front as in 2nd position; other arm raised  upward.

4th position
                        Feet: One foot in front of other foot of a pace distance.
                        Arms: One arm raised in front as in 1st position; other arm raised overhead.
5th position
                        Feet: Heel of front foot close to big toe of rear foot.
                        Arms: Both arms raised overhead.
TINIKLING

Tinikling is a traditional folk dance which originated in the province of Leyte in Visayas. The name of this dance
is derived from the word, tikling. which refers to a bird with long legs and a long neck. This dance involves steps which
are similar to the movements of the said animal as it runs over tree branches or walks between grass stems. This can be
performed with an instrumental accompaniment or accompanied by a folk song.

Tinikling involves the use of two bamboo poles which both have a length of nine feet. These poles are placed
horizontally on the ground. The performers dance along the sides and between as these poles are struck together according
to every beat of the music. The performers demonstrate their skills as they avoid getting their feet caught in between the
poles with each strike.

Costume

Performers wear specific costumes when dancing tinikling. The female performers wear colorful dresses with
wide arched sleeves called balintawak or pineapple fiber blouses called patadyong which are usually paired with
checkered skirts. On the other hand, the male performers wear light long sleeved shirts called barong tagalog which are
paired with long red trousers with one leg rolled up.

Music

The music used in tinikling is divided into two parts: A and B. The counting pattern used is 1, 2, 3 to a measure.
Formation

In tinikling, performers stand at the left side of the bamboo poles. The female performers are in front as they face
the audience.

Bamboo Rhythm

There are two bamboo rhythm observed in tinikling. These are the following

1. Bamboo Rhythm I-Strike bamboo poles together once by sliding them against the boards or lifting them an inch or so
(count 1), Then, open the bamboos about a foot apart and strike them twice against the boards (counts 2, 3), This is
repeated as many times as necessary in regular rhythm.
M. 3
4Rhythm

LiftStrikeStrike
1 2 3
2. Bamboo Rhythm II- Strike bamboos once (count 1). Then, open the bamboos a foot apart and strike them three times
against the boards (counts 2, 3) with hand patterns: right, left, right for bamboo player number 1 and left, right, left for
bamboo player number 2. The whole measure is played like this:

M. 3No.1 – R L
4RhythmNo.2 – R L

LiftStrikeStrike
1 2 3

Steps Used in Tinikling

There are two steps used in tinikling. These are the following:

1.Tinikling Step Right -Hop with the left foot outside (at the left side) the bamboos (count 1). Hop with the right foot
between the bamboo poles (count 2), then hop on the left foot on the same spot (count 3) and raise the right foot. (That is,
when the bamboos are struck together on count 1, the hop is done outside. When they are far apart, the two hops are done
between or inside on counts 1, 2, 3). Bend the right arm upward about the head level and kumintang the hand
counterclockwise with the female performer's left hand holding the skirt and the male performer's hand on his waist. All
of these are done within one measure.

2. Tinikling Step Left - Hop on the right foot outside (at the right side) the bamboo poles (count 1). Hop on the left foot
between the poles (count 2) and hop on the right foot on the waist (count 3). Reverse hand positions. All of these are done
within one measure.

Procedure

Two bamboo players sit on the ground opposite each other while holding the ends of the bamboo poles
(sometimes long pestles). Two pieces of board or bamboo, about thirty inches long and two inches thick, are placed under
the poles, about one foot from the ends. (See Diagram 1)

Audience
1 Bamboo player

bamboo

Dancers

2 board Bamboo player

Diagram 1.
Music Introduction

a. Starting with the right foot, the performers take four waltz steps forward going to their proper places See Diagram
1), with the female performer holding her skirt, while the male performer's hand on his waist……….4 measures

Bamboo Rhythm - silent for 1 measure4 Measures

Strike bamboo poles together once at every first beat of the second, third,
and fourth measures. (2-4 Measures)......................................................................................................4 Measures
b. Performers stand at the left side of the poles on the left foot. Tap with the right foot twice between the poles on
counts two and three of measure 5 (c).
Repeat (b) three times more (6-8 Measures).........................................................................................4 Measures
Bamboo Rhythm I-Play four times for 4 measures………………………………………………….4 Measures
 I. Tinikling Steps
Music A (Bamboo Rhythm)
a. Take seven Tinikling steps right and left alternately.
Observe hand positions as described previously.
The first hop on count of measure 1 may be omitted………………………………………………. 7 Measures
b. Step the right foot outside pole Number 2 (count 1), hop twice with the left foot between,
turning right about (counts 2, 3). The female performer holds her skirt,
while the male performer's hand is placed on his waist……………………………………………..1 .Measure
c. Take seven Tinikling steps right and left alternately.
Observe hand positions as described previously……………………………………………………. 7 Measures
d. The female performer hops on her left foot outside pole Number 2 (count 1),
hops on the right twice between the poles,
going backward near bamboo player Number I (counts 2, 3).
Observe hand positions as described previously ………………………………………………………...8 Measures

The male performer hops on his left foot outside pole Number 1 (count 1), turns right
about by hopping twice on the right foot between the poles
going near bamboo player Number 2 (counts 2, 3).
Observe hand positions as described in the eighth measure......................................................................1 Measure
The female performer and the male performer finish facing each other.

II. Clockwise and Counterclockwise

Music A (Bamboo Rhythm I)
a. The female performer stands at the left side of pole Number 2
and the male performer stands at the left side of
pole Number 1. (See Diagram 2) Starting with the left foot,
take four steps forward outside the poles (counts 1, 2, 3, 4);
turn right about and hop on the left (count 5) and right foot (count 6) between the poles.
The female performer holds her skirt, while the male performer's hand is on his waist…………. 2 Measures
b. Repeat (a) three times more, going clockwise. On the eighth measure hop on the left twice
between the poles (counts , 5,6)…………………………………………………………………. .6 Measures
c. Repeat all (a, b, c), starting with the right foot on the other side of the poles
(the male performer at the right side of pole number 2, and the female performer
at the right side of pole number 1).
Reverse direction………………………………………………………………………………….7 Measures

Note: This time the figure is started by hopping with the right (count 1) and left foot (count 2) between the poles.

d. The female performer takes three steps forward about two feet away from pole number 2………1 Measure
The male performer takes three steps forward about two feet away from pole number 1.

The female performer and the male performer finish facing each other. (See Diagram 3)……….1 Measure

II. Kuradang Step

Music B (Bamboo Rhythm I)
Take eight kuradang steps right and left alternately.
Arms are in the fourth position, right and left high alternatel…..16 measures

On the last measure, the male performer jumps over to the left side
of his partner
facing the same direction. (See Diagram 4)
 IV. Tinikling Step Sideways
Music B (Bamboo Rhythm)
Open poles wider to accommodate the feet of the performers.

Partners join inside hands. The free hand of the female performer holds her skirt and the male performers free
hand is on his waist.
a. Hop on the left foot outside the poles (count 1),
hop on the right (count 2) and on the left between the poles (count 3)
b. Hop forward on the right foot outside across pole number l (count 1), hop on the left (count 2),
and right foot between the poles (count 3)…………………………………………………………1 Measure
c. Repeat (a) and (6) five times alternately. ………………………………………………………….5 Measures
d. Hop on the right twice, outside pole number 1, turning right about.
Release the hold of inside hands (counts 1, 2).
Hop on the left, close the right foot in place (count 3) …………………………………………. . 1 Measure
e. Join inside hands. Repeat (a, b, and c)……………………………………………………………..7 Measures
f. Hop on the right foot outside pole number 2.
g. Release the hold of inside hands (count 1), pause (count 2)………………………………………1 Measure

V. Feet Apart
Music A (Bamboo Rhythm I)
a. The female performer turns right and the male performer turns left (facing each other),
jumps with both feet apart outside the poles (number 1 and number 2),
joins both hands and swings them sideways (count 1),
jump twice with feet together between the poles,
swings hands down in front between them (counts 2, 3)…………………………………………1 Measure
b. Repeat (a) twice more……………………………………………………………………………..2 Measures
c. Jump with feet apart outside the poles (count 1),
release hands and jump twice between the poles turning right about (counts 2, 3).
Partners are in back position……………………………………………………………………... 1 Measure
d. Repeat (a), (6) and (c) except the hand movements.
The female performer holds her skirt
while the male performer's hands are on his waist..........................................................................4 Measures
e. Repeat al, (a, b, c, and d) except on the sixteenth measure,
the female performer does not turn.
The male performer turns right facing the audience........................................................................8 Measures

VI. Cross-Step
Music A (Bamboo Rhythm )
a. Hop on the left foot across pole number 2 and raise the right foot in rear (count 1),
hop on the right twice between the poles (counts 2, 3).
The female performer's right hand is on her waist and the left hand holds her skirt,
while the male performers hand is on his waist……….…………………………………………..1 Measure
b. Hop on the left outside pole number 1 and raise the right foot in front (count 1),
hop on the right twice between the poles (counts 2, 3).
The hand positions are as described previously……………………………………………………1 Measure
c. Repeat (a) and (b) three times more. On the last two counts of the eighth measure,
hop on the right foot twice turning right about.................................................................................6 Measured.
d. Repeat seven times (a) and D) alternately.........................................................................................7 Measures
e. The female performer hops on the left outside pole number 2 (count 1),
hops on the right twice between poles
moving backward near bamb00 player number 1 (counts 2, 3).

The male performer hops on the left outside pole number 1 (count 1),
hops on the right foot between poles
moving forward near bambo0 player number 2 (count 2),
hop on the right again and face Tight about (count 3).......................................................................1 Measure

VII. Diagonal
Music B (Bamboo Rhythm I)
a. Hop on the left foot outside the poles (the female performer outside pole number 2,
the male performer outside pole number 1) (count 1), hop on the right diagonally forward
to the center of the poles (count 2). (See Diagram 5.) Hop on the left on the same spot (count 3).
Join the right hands on counts 2, 3……………………………………………………………..... 1 Measure
 b. Hop one foot diagonally backward across the other pole
(the female performer across pole number 1,
the male performer across pole number 2). (See Diagram 6).
Release the hold of right hands (count 1), hop on the left (count 2) and right (count 3)
between the poles as described previously. Join the right hands on counts 2, 3………………………1 Measure
c. Repeat five times (a) and (b) alternately ...............................................................................................5 Measures
d. Leap to exchange places. ………………………………………………………………………………1 Measure
e. Repeat (a), (b), and (c)…………………………………………………………………………………7 Measure
f. The male performer leaps to the left side of pole number 1
and the female performer leaps at the right side of pole number 2
near bamboo player number 2 (See Diagram 7)................................................................................. 1 Measure

VII. Waltz Steps

Music B(Bamboo Rhythm II)

a. Staring with the right foot, take four waltz steps forward
Arms are in lateral position moving sideward right
and left alternately or inside hands joined…………………………………………………………4 Measures
b. Repeat (a) moving backward………………………………………………………………………4 Measures
Bamboo Rhythm I-8 Measures
The female performer dances in front of her partner.
c. Hop on the outside foot once outside the poles (the female performer outside pole number 2,
the male performer outside pole number 1) (count 1),
hop on the inside foot twice between the poles (counts 2, 3)
The female performer holds her skirt
while the male performer's hands are on his waist………………………………………………...1 Measure
d. Repeat (c) five times more moving forward little by little ………………………………………5 Measures
e. The male performer jumps over to the left side of the female performer and they join right hands
The female performer makes a three-step turn left in place
passing under the arch of arms (1 Measure), and both bow to the audience (1 Measure)……….2 Measures
 WORKS TO DO
Activity 1
Direction: Write True if the statement is correct and False if the statement is wrong, If the
statement is false write the correct word or phrase on the blank after the statement to replace the
underlined word or phrase.

_____________1. Tinikling is a traditional folk dance which originated in the province of Cebu in
Visayas.___________________
_____________2. Tinikling involves the use of two bamboo poles._______________
_____________3. Balintawak is the costume used by male performers of tinikling.___________________
_____________4. Long red trousers are used by female performers of tinikling.____________________
_____________5. The music used in tinikling is divided into two parts.____________________
_____________6. Tikling refers to a bird with long legs and a long neck. _____________________
_____________7. Tinikling involves steps which are similar to the movements of maya birds. _________________
_____________8. Festival dances - dances that are either religious or secular and are connected with the celebration of
recurring events of special significance._______________
_____________9. Dance refers to a series of movements that matches the speed and rhythm of drums.________________
_____________10. Lowland Christian dances are dances from the people of the Southern Islands of the
Philippines.______________________

Activity 2

A. Fundamental dance Positions and Folk dance steps Performance

 Perform the Basic hand and feet or The Fundamental dance positions and the Fundamental Folk Dance steps
through Video recording (past it online through Facebook group ( PE-3 Dances Lyceum of the East Aurora 2020-
2021).

B. Folk Dance performance

 Watch videos of tinikling on youtube. Practice the steps and movements that you have watched in the videos and
dance in pair together with a member of your family.
 Make a video of your presentation/performance ( minimum of 1: 30 seconds )which will serve as your
performance task and past it online through facebook group( PE-3 Dances Lyceum of the East Aurora 2020-
2021).

Activity 3
 Express your thoughts, learning and experiences regarding the lesson in the scroll below. ( Minimum of two
paragraphs).
WEEK 3
Ethnic Dances
Ethnic dance is a dance that came from a particular cultural group. It is passed down from one generation to another.
Some examples of ethnic dance are mag-asik and sua-sua.

MAG-ASIK

Mag-asik is an ethnic dance of the Tiruray in Nuro, Cotabato, which is performed by girls. The term “mag-asik”
means to sow seeds" according to the natives there. This dance involves the use of a large cloth in bright color which is
spread in the center of the floor. Using small heavy steps and arm movements, the performers of this dance go around the
large cloth. Komaligue and mag-asik are the two parts of the said dance. Three girls perform the dance.
They are referred to as Performer 1, Performer2, Performer 3.

Costume
The costume worn by performers of mag-asik include shiny, mostly bright colored, tight blouses with long tight
sleeves and a peplum gathered around their waist The color of these blouses ranges from red, yellow and orange, to blue,
purple and black. The performers also wear a skirt called patadyong that reaches the ankle. Among the accessories that
each performer wears is a waist-length necklace. This accessory is typically made of either gold, beads, or old silver coins.
A sarong is also a part of the costume worn by performers of mag-asik. This garment is hung on either the left or right
shoulder of each performer. Metal belts with a width of six inches are worn by the rich.

Music
The music used in mag-asik has two parts: A and B. It is played as many times as needed.

Counting
The counting pattern used in the dance is 1, 2 to a measure.

Formation and Steps Used

In mag-asik, the three performers enter one by one, moving around the cloth which is Spread on the floor or stage.
The steps used in their performance include the following:
1. Heavy small steps going forward with four or more steps to a measure. Both feet are flat on the floor.
2. Small close steps right or left. Four close steps are made to one side (to change direction, feet are not closed on
fourth step). Then, one close step is made for every count.
3. Standing in place with the weight of the body on the left foot. The knees are slightly bent and the right foot stamps
four or more times to a measure. The body sways slightly to the right and left following the arm and hand
movements.
Music Introduction
The performers enter from the backstage or from a corner. They may enter individually or all together.
Music is played continuously until the performers reach their places.

I
Performer 1 enters doing Step l with the following hand movements:
 One hand, either the left or the right, is in continuous motion, going slowly up and down in this manner.
 The hand moves upward (parallel to and close to the body), with the palm facing the body.
 When the hand moves down, the wrist is Hexed, the fingers are pointed upward with the palm facing out, and the
elbow is lowered.
 The hand moves close to the body.
 The movement of the right hand is changed every four counts, four counts going up and four counts going down.
 One hand, either the left or the right, holds the sarong down at the side with the second and third fingers pinching
the cloth tightly.

Performer 2 follows three feet behind Performer 1.

Performer 3 follows three feet behind Performer 2.

The three performers go around the cloth counterclockwise using Step

maintaining a distance of three feet from each other. (See Diagram 1)

II
The three performers stand around the cloth facing in, dancing Step 3. They repeat the same movements of the hand found
in Figure I.

III
The three performers do Step 1 once going clockwise. They repeat Step 1 going
counterclockwise. They hold hands about two inches over the shoulders with the
palms down and the fingers close together. Their fingers are moved up and down
from the wrist imitating the flying movements of birds, their elbows close to the
body. This movement is depicted in the illustration at right.

The Performers finish in one line behind the cloth, facing the Audience.
(See Diagram 2)

IV
The performers do Step 2. They bend their arms forward (hands horizontal on the chest) with the palms down, right hand
on top of the left, fingers stiffly together. lower and raise their hands slowly. As the left hand goes down, the right goes
up, and vice versa. They do this four times.
Note: The hands are raised to shoulder level and lowered to four inches below the waist.

V
The performers do Step 2 eight times to the right and left alternately. They execute the starting position: arms
parallel to each other at left side, wrists Flexed upward, fingers stiffly together, palms down, elbows straight and stiff.

From the starting position, they move their arms to the right side, keeping arms parallel to each other. At the end
of the fourth step, their fingers must be hyperextended and their wrists bent downward jerkily. (Palms always down.)

They move their arms eight times sideward, right and left. Their arms and feet move with each change of
direction.
VI
With Performer 1 leading, all the performers do Step 1 going around 1
the cloth twice counterclockwise. Their hands are on their hips with
the little finger sticking out and waggling. The performers finish
standing a toward the center. (See Diagram 3)
2 CLOTH
Diagram 3
VII
The performers do Step 3. They hold the sarong the second and third
fingers of either their right or left hand. They move their hands
alternately as in Figure I. As the right hand moves up, the left hand
goes down. 3
a. With Performer 1 leading, all the performers do Step 1
going around the cloth. Performer 3 stoops down as if picking up the cloth but does not. She continues off the
stage. Performer 2 does the same.
b. Performer I picks up the cloth by its two upper corners and holds it between her thumb and her second finger. Her
three remaining fingers are separated and hyperextended. Both hands must be used.
Performer 1 does Step I going forward, holding the cloth in front of the body, with the elbows straight. She shakes
the cloth in time to the music.
c. The performers do Step 2 four times to the right and left side. They move the cloth to the right and left side
simultaneously with movements of the feet. Their elbows remain rigid. They give a strong shake of the cloth at
the end of each fourth close step.
d. They face the audience. They do Step 3. They hold the cloth in one corner with their right hand. Their left hand
hangs stiffy at the side with their fingers and elbow straight, palm down. They move their right hand up and down
as in Figure I four times.
EXIT
The performers do Step 1. They turn around once before going out. They hold the cloth with their right hand in
front at chest level. When they turn away from the audience, they look back over their right shoulder. Just before going
off the stage, they put the cloth over their left shoulder.

SUA-SUA OR POMELO TREE DANCE

Sua-sua is an ethnic courtship dance of the Tausug in Jolo, Sulu. It was inspiredfrom the pomelo tree also called
sua-sua which is abundant in the orchards in Sulu, making it essential in the livelihood of the people there. The dance
involves movements which are similar to the swaying of the leaves of the said tree. It is performed by couples.
The couples sing as they perform the dance with the use of two white fans. They typically put finely ground rice powder
on their faces and enhance their sideburns and eyebrows with soot for an aesthetic presentation. The natives often repeat
the dance as many times as they like or until they are made to stop.

The song used in the performance of sua-sua is presented below.

Music A
Stua-ko; Sua-ko, yampa tia num
Sua-ko; Sua-ko, yampa tia num
Ah-Mag dahon pa unom-unom
Ah-Mag dahon pa unom-unom
Music B
Bang ma-ka tum-tum panon no bo rola
Bang ma-ka tum-tum panon abs
Ah atay ko mag ka gonmon ads
Ah atay ko mag ka gomon
Music C
Kan ka pilaran, cambia sara-ranoa20 Dlog abutal gam o
Di ka dua han, di ka imanan
Ah mag pe-pin-tas, ha-la-man
Ah mag pe-pin-tas, da koman
Music D
Kan kapilaran-iman
The song used in the performance of sua-sua was also translated in English. It was made by Lieutenant Alpad Arasad. It
goes this way:
My little orange tree I had planted,
With its six lovely green leaves,
Reminds me of her
Thus causing my heart to beat.
That loveliest beauty among the many,
That prety one I cannot change,
Walking hurriedly along the street
Hand in hand with me-
To that lovely beauty I lost my heart.
Costume
Performers wear specific costumes when dancing sua-sua. The female performers wear a barawasi on top, pants called
sawal or kantiu, a shoulder band called siyag, a headpiece, and some accessories.
The barawasi is made of plain or printed Chinese silk or cotton. It is a traditional loose blouse with long sleeves,
deep plunging key hole neckline, and extra panels attached to the right and left chest. It is also decorated with many tiny
brass buttons.
The sawal or kantiu are loose pants made of Chinese silk or any silky material. It has a 10-inch soft white band
(coco curdo) attachedto a wide waist, which is overlapped in front (one side on top of the other and rolled out to form a
tight belt) in order to tuck the pants in. Its color ranges from navy blue, grass green, and red to sunshine yellow and
orange.
The siyag is a wraparound malong made of rich material. It is worn separately and is strung over the right
shoulder. lt crosses the chest and hangs on the left side of the body of each female performer. The headpiece may be a
gold or brass filigree called tusuk, paper bills pasted on slender sticks, or pasteboard cutouts in the front with a height of
eight to 10 inches. It is similar to Chinese crowns covered with gold fol. The accessories may include gold or imitation
gold earrings, necklace, bracelets, and brooches.
In contrast, the male performers wear a bajo on top, sawal or kantiu as pant as well, and some accessories. Like
the barawasi, the bajo is made of plain or printed Chinese silk or cotton. It is a short waist shirt with no collar. Its open
front with the right panel overlapping the left serves an aesthetic purpose. It is studded with many tiny brass buttons and is
not intended to be closed. The sawal or kantiu of male performers are similar to the pants worn by female performers in
terms of the materials used. However, their pants have bolder design and darker colors. The accessories may include a
money belt, a sarok hat, a rectangular handwoven scarf called pis siyabit which is tied on the head or hung loosely over
one shoulder, a wavy knife called kris, and a leaf knife called barong.

Both the female and male performers dance in barefoot while holding an open fan in each hand.
Music
The music used in sua-sua has four parts: A, B, C, and D.

Counting
The counting pattern used in the dance is 1, 2 to a measure.

Formation
Sua-sua can be performed by one couple or more. They place their second and third fingers on one side toward
the top of their open fans and place their thumb, fourth, and little fingers under on the other side. Partners are about eight
feet apart from one another. They stand opposite each other with the female positioned at the right side of her partner
when facing the audience.

Step Used

The sua-sua step can be done by pointing the right or left foot in front (count 1) then sliding forward with the toes
of the same foot and putting the weight on using the whole sole of the foot at the end of the slide (count 2). The movement
is repeated using the other foot. This step is used in the entire dance.

Arm Movements
With an open fan held in each hand, arms are set in second position or at shoulder level and hands are turned
(from the wrists only) in a horizontal figure eight motion (see diagram below). It takes two counts to complete a figure
eight motion.

For Right Hand For Left Hand

Music Introduction
Partners walk to their place starting with the right foot. They take one step for every count.
Their fans are held down at the sides……………………………………………………………………….4 Measures

Music A

Partners face each other.

 a. They meet at the center by taking four sua-sua steps starting with the right foot.
Their arms should be moving continuously.....…………………………………………………….4 Measures
b. The female performer continues moving forward by taking four sua-sua steps while
the male performer moves backward to his original position
by taking four sua-sua steps backward. Both start with the right foot.
Then, they take the same arm movements………………………………………………………... 4 Measures
c. Starting with the right foot, the female performer moves backward
to her proper place by taking eight sua-sua steps.
The male performer takes the same steps moving forward,
following closely. His arm movements are the same……………………………………………...8 Measures

II
Music B
a. Partners face each other and join both hands with fans still open.
They take four sua-sua steps clockwise, starting with the right foot………………………………4 Measures
b. They drop hands and both go to the center by taking four sua-sua steps,
the male performer moving backward and the female performer moving forward.
They do the same arm movements…………………………………………………………………4 Measures
c. They join both hands again and take four sua-sua steps moving counterclockwise.
Then, they drop hands after the fourth step………………………………………………………. 4 Measures
d. The female performer takes four sua-sua steps to the male performer's place.
The male performer moves backward, the female performer moves forward,
starting with the right foot, with the same arm movements.
Partners finish standing side by side facing the direction
of the original position of the female performer.
The female performer stands at the right side of the male performer……………………………..4 Measures
III
Music C
Partners join outside hands and raise them overhead, join the inside hands and hold them down at the back. Their fans
remain open.
a. Starting with the outside foot, partners take four sua-sua steps to the center.
They drop hands at the end of the fourth step……………………………………………………...4 Measures
b. Partners stand with their right shoulders near each other.
They take four sua-sua steps moving clockwise.
They do the same arm movements... ……………………………………………………………….4 Measures
c. They turn about and repeat (b) counterclockwise.
They finish with the female performer standing at the right side,
facing the original place of the male performer…………………………………………………….4 Measures
d. They join outside and inside hands as above.
They repeat (a) moving backward
to the female performer's place…………………………………………………………………… 4 Measures

Exchange Places
Music D

With sua-sua or plain walking steps, the female performer goes to the male performer s
original place, arm hanging loosely at the sides as she walks to the opposite side.
The male performer remains in the female performer's place……………………………………………... 6 Measures

Whole Dance
Music A, B, and C
Partners repeat the whole dance (Figure I, II, and III)…………………………………………………..... 48 Measures

FINALE
Music D

a. Starting with the outside foot, partners make a three-step turn

by first turning under the arch of the front arms,
then under the rear arms................................................................................................................2 Measures
b. The male performer kneels on the right, hands down at the sides with the fans open.
The female performer stands in front of the male performer.
Her right arm in reverse "T
and left hand down at the side…………………………………………………………………...4 Measures

WORKS TO DO
ACTIVITY 1
Direction: Do the following:

1. State the origin of Mag-ask.

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2. Draw the costume used in the performance of Mag-asik.

3. State the origin of sua-sua.

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4. Draw the costume used in the performance of sua-sua.

ACTIVITY 2.
Direction:
 Watch videos of mag-asik and sua-sua performance on Youtube. Find a partner in your family members and
practice the movements of the arms and legs involve in the dances.
 After you watch and practice the mag-asik and sua-sua dances choose 1 of the two that you want to perform .
 ( Note you should perform at least 1 rotation of the whole measure)Then perform it by recording yourself with a
video recorder and pass your performance through our Facebook group( PE-3 Dances Lyceum of the East
Aurora 2020-2021).

Criteria Excellent Very Good Good Fair

1. He/she is able to
master the sequence
of the steps in the
dance
2. He or she is able to
move with proper
timing
3. He or She is able to
execute the dance
steps correctly

4. He or She is able to
perform the dance
gracefully

ACTIVITY 3

A. Create a collage depicting all the knowledge you gained from the lesson in the box below.
ACTIVITY 4

Express your thoughts, learnings and experiences regarding the lesson in the scroll below.
ANSWER KEY
 WORKS TO DO
Activity 1
Direction: Write True if the statement is correct and False if the statement is wrong, If the statement is
false write the correct word or phrase on the blank after the statement to replace the underlined word or
phrase.

_False_1. Tinikling is a traditional folk dance which originated in the province of Cebu in Visayas.______Leyte___
__True_2. Tinikling involves the use of two bamboo poles._______________
_False__3. Balintawak is the costume used by male performers of tinikling.__Female___
__False__4. Long red trousers are used by female performers of tinikling.__male__________________
_True____5. The music used in tinikling is divided into two parts.____________________
___True___7. Tinikling involves steps which are similar to the movements of maya birds. _________________
__True____8. Festival dances - dances that are either religious or secular and are connected with the celebration of
recurring events of special significance._______________
_False9. Dance refers to a series of movements that matches the speed and rhythm of drums.___music____
____False____10. Lowland Christian dances are dances from the people of the Southern Islands of the
Philippines.______Muslim dances____