12

PHYSICAL EDUCATION AND HEALTH

Quarter 1 - Module 2:
Health-Optimizing Physical Education: Traditional and
Festival Dances
Physical Education and Health – Grade 12
Alternative Delivery Mode
Quarter 1 – Module 2: Health-Optimizing Physical Education
Traditional and Festival Dances
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of
the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Julius B. Campos
Editors: Lucille C. Abunales, Irene G. Ajoc
Reviewers: Lucille C. Abunales, Irene G. Ajoc
Illustrator: Julius B. Compos
Layout Evaluators: Celeste Faith R. Almanon, Jay S. Ayap
Management Team: Gregoria T. Su
Marvilyn C. Francia
Jay S. Ayap
Irene G. Ajoc
Lucille C. Abunales

Printed in the Philippines by ________________________

Department of Education – Caraga Region – Bislig City Division

Office Address: H. Basañez Blvd., Poblacion, Bislig City 8311

Telefax: (086) 853 – 7403 ext. 1000 - 1029
E-mail Address: bislig.city@deped.gov.ph
 12

Health-Optimizing
Physical Education and
Health 12
Quarter 1 – Module 2:
Health-Optimizing Physical
Education
Traditional and Festival Dances
Introductory Message
For the facilitator:

Welcome to the Physical Education and Health 1 Alternative Delivery Mode

(ADM) Module on Exercise for Fitness!

This module was collaboratively designed, developed and reviewed by

educators both from public and private institutions to assist you, the teacher or
facilitator in helping the learners meet the standards set by the K to 12 Curriculum
while overcoming their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and
independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21 st century skills while taking into
consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to keep track of the learners’ progress while allowing them to
manage their own learning. Furthermore, you are expected to encourage and assist
the learners as they do the tasks included in the module.

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For the learner:

Welcome to the Physical Education and Health 1 Alternative Delivery Mode

(ADM) Module on Exercise for Fitness!

The hand is one of the most symbolized part of the human body. It is often
used to depict skill, action and purpose. Through our hands we may learn, create
and accomplish. Hence, the hand in this learning resource signifies that you as a
learner is capable and empowered to successfully achieve the relevant competencies
and skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning resource while being an active
learner.

This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in the
module.

What I Know This part includes an activity that aims to

check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.

What’s In This is a brief drill or review to help you link

the current lesson with the previous one.
In this portion, the new lesson will be introduced
What’s New
to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.
This section provides a brief discussion of the
What is It
lesson. This aims to help you discover and
understand new concepts and skills.

What’s More This comprises activities for independent

practice to solidify your understanding and
skills of the topic. You may check the answers to
the exercises using the Answer Key at the end of
the module.
This includes questions or blank
What I Have Learned
sentence/paragraph to be filled in to process
what you learned from the lesson.
This section provides an activity which will help
What I Can Do
you transfer your new knowledge or skill into real
life situations or concerns.

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 Assessment This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.

Additional Activities In this portion, another activity will be given

to you to enrich your knowledge or skill of the
lesson learned. This also tends retention of
learned concepts.

Answer Key This contains answers to all activities in the

module.

At the end of this module you will also find:

References This is a list of all sources used in developing

this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of the
module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are
not alone.

We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies. You can do it!

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 What I Need to Know

This module was designed and written with you in mind. It is here to help you
optimize your health through Physical Education. The scope of this module permits
it to be used in many different learning situations. The language used recognizes the
diverse vocabulary level of students. The lessons are arranged to follow the standard
sequence of the course. But the order in which you read them can be changed to
correspond with the textbook you are now using.

The module is divided into 8 lessons, namely:

 Lesson 2 – Traditional Dance

 Philippine Folk Dance and Festival Dance

After going through this module, you are expected to:

1. Discuss the traditional and Festival dances of the different styles and
characteristics of dances.
2. Perform simple traditional dances with observance to safety precaution; and
3. Recognize ones’ potential in analyzing and creating simple dance
choreography.

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 What I Know

1. This dance depicts actions, characteristics, occupations, industries and

phases of human labor.
A. Social dance
B. War dance
C. Occupational dance
D. Wedding dance

2. Which of the following descriptions best define folk dancing?

A. The oldest form of dance and the earliest form of communication
B. The mode of famous dances and performance
C. Inherited and performed of one’s iconic idol
D. A way of self-expression

3. Who is the mother of the Philippine Folk dance?

A. Francesca Reyes
B. Franchisca Aquino
C. Francesca Reyes-Aquino
D. Francisca Reyes-Aquino

4. The Philippine Folk dance are classified according to:

A. Muslim dance
B. National dance
C. Geographical locations
D. Local or regional dances

5. This dance is performed in connection with celebrations, a feast, a barrio

fiesta, a good harvest.
A. Festival dance
B. Social dance
C. Celebratory dance
D. Ritual dance

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 Lesson
Traditional and Festival
2 Dances
INTRODUCTION
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. Each of these
dances originated in a unique way and serve a certain purpose, showcasing how
diverse Philippine Dance are.

What’s In

Activity 1.1: Try This!

Let’s challenge what you know! Direction: Choose the letter of the best answer. Write
the chosen letter on a separate sheet of paper.

1. Which of the following is NOT true?

A. Just by looking at the costumes of a certain group or tribe, you can
tell the origin of the dance.
B. Physical folk dances speak so much about the heartbeat of the people
C. Folk dances tell about the people’s superstitions, customs, ideas,
beliefs and events of daily living
D. Folk dances are similar to hip hop dance, you have to do back-flip.

2. Who is the dance researcher for “BINISLAKAN”?

A. Francisca Reyes-Aquino
B. Ramon A. Obusan
C. Gregorio Del Pilar
D. John D. Legaspi

3. The dance’s place of origin is at Lingayen, Pangasinan and Dancers are

using sticks to perform.
A. Binislakan
B. Sakuting
C. Sua-ku-Sua
D. Pangalay

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 4. This is a dance whose researcher is Ramon A. Obusan, and this song means
“My Pomelo Tree”.
A. Sua-ku-Sua
B. Pangalay
C. Sakuting
D. Binislakan

5. Rich people having janggay is made of what component or material?

A. Solid gold and silver
B. Plastic sheets
C. Paper and brass
D. Gold and batteries

What’s New

Keep this in Mind!

Philippine and Festival dances are a celebration of daily life, health, peace, war,
harvest times and other aspects of life. According to the National Commission for
Culture to the Arts, Philippine Folk dance and Festival dances imitate nature and
life because they are rituals for social and spiritual expression.

Do This!
If painters have canvass which they use as a medium to bear their art, dancers use
their body to form shapes and gestures to communicate their sense of art and self-
expression. In this activity, try to analyze which type of dances they belong (Maria

Clara Suite, Muslim dance, Festival Dance, Country Side, or Cordillera dance).
Write your answers on your notebook.

1. 3.
https://ph.images.search.yahoo.com/search/images;_ylt=AwrP https://ph.images.search.yahoo.com/search/images;_ylt

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 2. 4.
https://ph.images.search.yahoo.com/search/images; https://ph.images.search.yahoo.com/search/images;_ylt=AwrwJ

5.

https://ph.images.search.yahoo.com/search/images;_ylt=AwrwJ

Explore!
This time let us explore how Philippine folk dances and Festival dances used to
create a work of art. Answer the following questions below. Write your answers on
your notebook.

1. How do Philippine Folk dances and Festival dances affect the lives of the
people?

2. How do these dances contribute to your overall health? Cite at least 5

benefits.

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 What is It

Traditional Dance and Festival Dance

History

The history of Philippine folk dancing incorporates influences from immigrants

and conquerors while at the same time maintaining distinctly Filipino roots.
Philippine folk dancing 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.

It is impossible to know when exactly dancing became a part of life in the

Philippines. Many traditional dances were designed to thank the gods for natural and
agricultural events, such as rain and harvests. The dances were performed during
festivals and remembrances of past military victories, and still are performed at
celebrations of births and weddings in modern times. Many modern folk dance
festivals still feature ancient dances performed in costume of the tribal period of the
Philippines.

Philippine folk dance mirrors the culture and tradition of the Filipinos. It has
also been a source of culture identify of the people. In this diversified country, there
are also great diversity of dances in different forms and dynamics that grow out of
various times, situation and experiences.

Dance Terms Used in performing Folk Dance, Philippines.

The Following are the common Dance Terms in Philippine Folk Dance:

 Abracete – Girl at the right side, holds Right arm of partner with her Left hand,
free hands down at the sides. This terms is of Spanish and is used in Rigodon
and in other dances.
 Arms in Lateral Position – both arms are at one side, either sideward right or left.
This may be done at shoulder chest or waist level.
 Arms in Reverse “T” position – Arms are side horizontal, elbows bent at right
angles, forearms parallel to head, palms forward or facing inward, fists loosely
closed.

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 Bilao – To turn hands up and sown alternately, hands at waist level in front,
elbows close to waist.
 Brush – Weight on one foot, hit the floor with the ball or heel of the other foot (the
free foot) after which that foot is lifted from the floor to any direction.
 Cabeceras – When dancers are in square formation, the couples occupying the
width of the hall are called “cabeceras” or head couples. This is of Spanish origin.
 Clockwise – Like the motion of the hands of the clock. Right shoulder is toward
the center of an imaginary circle. When facing center, the movement is toward
the left.
 Counterclockwise – The reverse direction of clockwise. Left shoulder is toward the
center of an imaginary circle. When facing center, the movement is toward the
right.
 Crossed arms – Partners are facing each other or standing side by side, girl at the
right of boy. They join their Left hands together and their Right hands together
either Right over Left or Left over Right hands.
 Cross- Over – Two couples (the vis-à-vis) are opposite each other. Each couple
proceeds in a straight line to the opposite place. The girl pass by their Left
shoulders between the boy. Boys bow to each other when they meet at the middle
or at about one-third of the way, then proceed to the opposite place. Upon
reaching the opposite place, partners turn about, girls stand at partners’ right
side.
 Cut – To displace quickly one foot with the other, thus completely taking off the
weight of the body from the displaced foot.
 Do-Si-Do(“Dos-a-Dos”) – The vis-à-vis (opposite) both advance forward, pass each
other’s right (or left) side, step across to the right (or left), move backward without
turning around pass each other’s left (or right) side to proper places. This is of
foreign origin and is used in many Philippine dances.
 Draw – To pull one foot along the floor close to the other which has the weight of
the body The weight may or may not be transferred.
 Free Foot – The foot no bearing the weight of the body.
 Free Hand – The hand not place anywhere or not doing anything.
 Hand on Waist – Place hands at the waist line (at the smallest part of the trunk),
knuckles in, fingers pointing in rear.
 Hapay – To flourish or offer a handkerchief, hat or glass of wine to somebody as
a sign of invitation.
 Hayon –Hayon – To place one forearm in front and the other at the back of the
waist. This is a Visayan term.
 Hop – A spring from one foot landing on the same foot in place or any direction
(in front, in rear, sideward or across).
 Inside Foot - The foot nearest one’s partner, when partners stand side by side.
 Inside Hand – The hand nearest one’s partner, when partners stand side by side.
 Jaleo – Partners turn once around clockwise (with right elbows almost touching)
or counter clockwise with left elbows almost touching) using walking or any kind
of dance step. The hands near each other are on waists. This is a tagalong term
but is of Spanish origin.
 Jump – Spring on one foot or both feet, landing on both in any direction.

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 Kumintang – Moving the hand from the wrist either in a clockwise or
counterclockwise direction. This is an Ilocano term.
 Leap – A spring from one foot landing on the other foot in any direction(forward,
sideward, backward or oblique)
 Masiwak – To turn the hand from the wrist half-way clockwise then raise and
lower wrist once or twice. This is an Ibanag term.
 Outside Foot – The foot away one’s partner, when partners stand side by side.
 Outside Hand – The hand away from one’s partner, when partners stand side by
side.
 Place – To put the foot in a certain or desired position without putting weight on
it. The sole of the foot rests flat on the floor.
 Point – Touch lightly with the toes of one foot, weight of the body on the other.
 Saludo –partner bow to each other, to the audience, opposite dancers, or to the
neighbor.
 Sarok – Cross the Right (or left) foot in front of the Left (or right), bend the body
slightly forward and cross the hands down in front with the Right (Left) hand over
the Left(Right).
 Set – A dance formation like a quadrille or a unit composed of two or more pairs.
 Stamp – To bring down the foot forcibly and noisily on the floor (like doing heavy
steps).
 Star with the Right Hand – Four or more people advance to the center and join
Right hands and circle around clockwise using walking or change or any other
step.
 Star with the left hand – same as “Star with the Right hand” only join Left hands
and counterclockwise.
 Step – To advance or recede by raising and moving one foot to another resting
place. There is a complete transfer of weight from one foot to the other.
 Tap – To tap lightly with the ball or tip of the toe, placing weight of the body on
the foot. There is no change or transfer of weight here.

Traditional Folk Dances of the Philippines

The Itik-Itik

The best description of the Itik-Itik is that the steps mimic the way a duck walks, as
well as the way it splashes water on its back to attract a mate. According to popular
tradition, the dance was created by a lady named Kanang who choreographed the
steps while dancing at a baptismal party. The other guests copied her movements,
and everyone liked the dance so much that it has been passed along ever since.
The Tinikling is considered by many to be the Philippines’ national dance. The
dance’s movements imitate the movement of the tikling bird as it walks around
through tall grass and between tree branches. People perform the dance using
bamboo poles. The dance is composed of three basic steps which include singles,
doubles and hops. It looks similar to playing jump rope, except that the dancers
perform the steps around and between the bamboo poles, and the dance becomes
faster until someone makes a mistake and the next set of dancers takes a turn.

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 https://ph.images.search.yahoo.com/search/images;_ylt=AwrwJ

The Sayaw sa Bangko

The Sayaw sa Bangko is performed on top of a narrow bench. Dancers need good
balance as they go through a series of movements that include some impressive
acrobatics. This dance traces its roots back to the areas of Pangapisan, Lingayen and
Pangasinan.

https://ph.images.search.yahoo.com/search/images;_ylt=Awrw

The Binasuan

The Binasuan is an entertaining dance that is usually performed at festive social

occasions like weddings and birthdays. Dancers carefully balance three half-filled
glasses of rice wine on their heads and hands as they gracefully spin and roll on the
ground. The dance originated in Bayambang in the Pangasinan province, and though
it’s usually performed alone, it can also become a competition between several
dancers.

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 https://ph.images.search.yahoo.com/search/images;_ylt=Awrt

The Maglalatik

The Maglalatik is a mock war dance that depicts a fight over coconut meat, a highly-
prized food. The dance is broken into four parts: two devoted to the battle and two
devoted to reconciling. The men of the dance wear coconut shells as part of their
costumes, and they slap them in rhythm with the music. The Maglalatik is danced
in the religious procession during the fiesta of Biñan as an offering to San Isidro de
Labrador, the patron saint of farmers

https://ph.images.search.yahoo.com/search/images;_ylt=Awrt

The Kappa Malong-Malong

The Kappa Malong-Malong is a Muslim-influenced dance. The malong is a tubular

garment, and the dance essentially shows the many ways it can be worn. There are
men’s and women’s versions of the dance since they wear malongs in different ways.

https://ph.images.search.yahoo.com/search/images;_ylt=Awrt

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The Cariñosa
The Cariñosa is a dance made for flirting! Dancers make a number of flirtatious
movements as they hide behind fans or handkerchiefs and peek out at one another.
The essence of the dance is the courtship between two sweethearts.

https://ph.images.search.yahoo.com/search/images;_ylt=Awrt

The Singkil

The Singkíl originated from the Maranao people who inhabit the shores of Lake
Lanao.

It is derived from a story in the Darangen, the pre-Islamic Maranao interpretation of

the ancient Hindu Indian epic, the Ramayana. The name of the dance itself means
“to entangle the feet with disturbing objects such as vines or anything in your path”.
It is a popular dance performed during celebrations and other festive entertainment.
Originally only women, particularly royalty, danced the Singkíl, which serves as
either a conscious or unconscious advertisement to potential suitors.

The lead dancer, in the role of Putri Gandingan (the Darangen name for Sita),
graciously step in and out of closing bamboos poles arranged in either a parallel,
rectangular, or criss-cross fashion while manipulating either apir (fans), mosala
(scarves), or even just their bare hands.

https://ph.images.search.yahoo.com/search/images;_ylt=Awrt

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Festival dances in the Philippines

Ati-Atihan – Kalibo

Dubbed as the Mother of All Festival in the Philippines, Kalibo's Ati-Atihan is the
oldest festival in the country. It's a two-week merriment that culminates on the 3rd
Sunday of January.

As early as December, you will hear drumbeats as participants practice for the
upcoming event. During the celebration, people dressed in costumes made of
indigenous materials gather in the street and dance to the beat of the drums. Their
skin is blackened to represent the early settlers known as "ati". Chants of "'Viva!
Santo Niño!" and "Hala Bira! Pwera Pasma!” can be heard along with the rhythmic
cadence of tribal music. The first phrase is a tribute to the baby Jesus and the second
is a plea not to get sick under the sweltering heat of the sun.

https://ph.images.search.yahoo.com/search/images;_ylt=Awrt

Sinulog – Cebu City

On the same day, Cebu City also pays tribute to the to Santo Niño through their Ati-
Atihan Sinulog. What sets it apart is the way they dance to the beat of the drums –
two step forward and one step backward – a movement that's meant to simulate the
water current (sulog) of Pahina River. Besides the religious parade and street parties,
you can also enjoy trade fairs, musical events, and art exhibitions.

https://ph.images.search.yahoo.com/search/images;_ylt=Awrt

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Masskara – Bacolod

Another renowned Visayas festival is Bacolod's Masskara, a 20-day street party

replete with food, drinks, dances, and a bevy of wild contests like chasing after a pig
and downing coconut milk. Held on the weekend closest to October 19, it was
conceptualized to show the local's resiliency despite a hard life. Hence, participants
wear papier-mâché or clay masks depicting a huge smile.

https://ph.images.search.yahoo.com/search/images;_ylt=Awrt

Moriones Festival – Marinduque

During Holy Week each year, a biblical re-enactment is seen on the roads of
Marinduque when villagers don their interpretation of a Roman soldiers' helmet,
dress, and armour. Performed as a form of penitence, Moriones Festival is meant to
portray the search for Longinus, the Roman soldier who pierced Jesus' side with a
lance during the Crucifixion. Christian or not, this religious pageantry is interesting
to say the least.

https://ph.images.search.yahoo.com/search/images;_ylt=Awrt

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 What more

A. Picture analysis. How do you think do the elements -body, action, space,
energy and time, influence the potential of the Philippine Folk dances and
Festival dances to optimize dancers’ health and fitness?

https://ph.images.search.yahoo.com/search/images;_ylt https://ph.images.search.yahoo.com/search/images;_ylt=AwrP

What I can do

Assess What You Have Learned

You will be tasked to create a 2/4 time signature dance using the different
dance terms given with Philippine Folk dance music in your choice and record your
performance for this assessment.

This task will be graded based on the following criteria:

 Dance terms used – 30pts

 Timing and Coordination - 40pts
 Connection to the lesson and overall performance - 30pts

TOTAL: 100 pts

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 Generalization

Assessment

_________ 1. To turn hands up and sown alternately, hands at waist level in front,
elbows close to waist.
__________2. The vis-à-vis (opposite) both advance forward, pass each other’s right
(or left) side, step across to the right (or left), move backward without
turning around pass each other’s left (or right) side to proper places.
This is of foreign origin and is used in many Philippine dances.
__________3. Weight on one foot, hit the floor with the ball or heel of the other foot
(the free foot) after which that foot is lifted from the floor to any
direction.
__________4. both arms are at one side, either sideward right or left. This may be
done at shoulder chest or waist level.
__________5. To place one forearm in front and the other at the back of the waist.
This is a Visayan term.
__________6. To turn the hand from the wrist half-way clockwise then raise and lower
wrist once or twice. This is an Ibanag term.
__________7. partner bow to each other, to the audience, opposite dancers, or to the
neighbor.
__________8. Cross the Right (or left) foot in front of the Left (or right), bend the body
slightly forward and cross the hands down in front with the Right (Left)
hand over the Left(Right).
__________9. Moving the hand from the wrist either in a clockwise or
counterclockwise direction. This is an Ilocano term.
__________10. A spring from one foot landing on the other foot in any
direction (forward, sideward, backward or oblique)

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 Additional Activities

Direction: Watch any dance trends of your choice. Give at least two benefits
of dance based on the following and write your answer in your notebook

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 17
What I Know
1. C
2. A
3. D
4. D
5. A
What’s In
Activity 1.1
1. D
2. A
3. A
4. C
5. A
Do This!
1. Festival Dance
2. Muslim Dance
3. Maria Clara Suite
4. Cordillera Dance
5. Country Side
Assessment
1. Bilao
2. Do-si-do
3. Brush
4. Arms in lateral position
5. Hayon-Hayon
6. Masiwak
7. Saludo
8. Sarok
9. Kumintang
10.Hop
Answer Key
References
Dinoso, C. 1990. Gymnastics Book. Rex Bookstore.
elementsofdance.org. 2018. Elements of Dance. Retrieved from:
https://www.elementsofdance.org/

Download Asset. n.d. The Elements of Dance: Dance Concepts. Retrieved from:
https://www.kpbsd.k12.ak.us/Workarea/DownloadAsset.aspx?id=36260

Photo References

https://www.flickr.com/photos/90412460@N00/30290794315

https://www.needpix.com/photo/1790558/dance-man-ballet-dancer

https://c1.wallpaperflare.com/preview/928/629/199/ballet-dance-portrait-
woman.jpg

https://www.pikrepo.com/nnlow/woman-in-black-sleeveless-dress-raising-her-
hands

https://www.holloman.af.mil/Art/igphoto/2000043617/

https://commons.wikimedia.org/wiki/File:Tutting_pose_by_Osman_Osman.jpg
https://www.needpix.com/photo/1012937/man-dance-jump-power-energy-
looking-up

https://www.pxfuel.com/en/free-photo-oowyc

https://commons.wikimedia.org/wiki/File:Bend_and_Snap,_contemporary_dance_
performance_at_Nazareth_College_Arts_Center,_Rochester,_New_York_-
_20090925.jpg

https://commons.wikimedia.org/wiki/File:Zumba_at_People%27s_Park_Davao_Cit
y_(aerobics_training).jpg

https://www.flickr.com/photos/7289702@N07/5961594268

https://commons.wikimedia.org/wiki/File:NWFusionPaquitaPasLift.jpg

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For inquiries or feedback, please write or call:

Department of Education – Caraga Region – Bislig City Division

Office Address: H. Basañez Blvd., Poblacion, Bislig City 8311

Telefax: (086) 853 – 7403 ext. 1000 - 1029
E-mail Address: bislig.city@deped.gov.ph

LRMDC Hotline: 0912-255-8499

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