1

UNIT 3 - Folk Dance: A Dance Form in Focus

Overview

Now that you acquire knowledge on the concept of dance in general and have
been able to attain that level of understanding about rhythm in dance and its movement
fundamentals, it is time to focus now on the different forms of dance. And since folk dance
is considered one of the oldest among the various types of dances, you will be learning
first its importance and role in the life of the people and to the society.

Moreover, part of studying folk dances is for you to become familiar with the
Philippine folk dances and start appreciating the beauty and characteristics of these
dances. As a citizen in this country, it is your responsibility to help in the promotion and
preservation of the Filipino culture by learning the dances.

Specific Learning Outcome

At the end of the unit, you are expected to:

• Create advocacy on the beauty and importance of folk dances in the

promotion and preservation of culture, peace, and understanding among
people through a promotional video.
• Perform properly the fundamental dance positions, terms, movements, and
steps in folk dancing through video recording.
• Interpret and perform as closely as possible one Philippine folk dance
through making an instructional video.
 2

Lesson 7: The Concept of Folk Dance

Let’s Get Started

In this activity, you will be expressing your insight on a quote by Charles Davis.
You may accomplish this activity by sharing and writing in paragraph-form your perception
in MS Word.

Activity 6: Quote of the Day!

“To understand the culture, study the dance.

To understand the dance, study the people.”

- Charles Davis

There are plenty of things that you can say about the quote. But even if you view
it differently, you are all entitled to your own opinion. What is important is that you already
have now an idea of what is folk dance. To help you understand it more, this specific
lesson will let you unfold the meaning of folk dance, how it is classified and being affected
by some factors, its values as well as the dos and don’ts in folk dancing.

What is “Folk Dance”?

Among the various types of dances, folk dance is considered one of the oldest. In
the past, folk dance became part of all human life. It is a dance that reflects the people’s
way of life which can be found in every culture. It is a traditional dance of a country that
evolved naturally and spontaneously in connection with the everyday activities and
experiences of the people.
 3

Folk dance is a cultural art form handed down from generation to generation. It
communicates the customs, beliefs, principles, traditions, rituals, and occupations of the
people of a region or country. A dance developed by people and originated from them;
therefore, folk dancing belongs to the people.

Furthermore, the term folk dance describes dances that share some or all the
following attributes:

• They are dances performed at social functions by people with little or no

professional training, often to traditional music or music based on traditional music.
• They are not designed for public performance or the stage, although traditional folk
dances maybe later arranged and set for stage performances.
• Their execution is dominated by an inherited tradition rather than by innovation
(although like all folk traditions they do change over time).
• New dancers often learn informally by observing others and/or receiving help from
others.

How to Classify Folk Dances?

Folk dance can be classified according to its types and sources. The types of folk
dances are based on the geographical extent or origin of the dance while sources of folk
dances mean the basis of the different concept or idea that is presented in the dance.

Types of Folk Dance

• Regional/Local Folk Dances – This refers to folk dances that are

performed and popular only in a certain place or part of a country.
• National Folk Dances – This refers to folk dances that are widely
performed or danced throughout the country.
• International Folk Dances – This refers to folk dances from foreign or
other countries.
 4

Sources of Folk Dance

• Religion
• War
• Imitation of animals and birds
• Occupation
• Special Ceremonies (Courtship, Marriage)
• Domestic Activities
• Superstitious Beliefs

Factors Affecting Folk Dances

Some factors affect folk dancing. The concept or idea of a certain folk dance can
be influenced by the customs and traditions of a particular group in a region or a country.
The dance movements including the emotions expressed in a folk dance can be
established from the climatic and economic conditions experienced by the people in a
specific culture. These factors greatly swayed the people on how they will develop or
conceptualize their dances.

• Customs and Traditions – In the Philippines, the women of the past were
shy, sensitive, modest, slow, and reserved. Because of this custom, women
dancers offer only two fingers in shaking hands during their dance
performance.
• Climatic Conditions – In cold regions, dances abound in skips, jumps,
hops, springs, and turns to keep the dancers warm. In places, where the
climate is warm, the movements are slow, tender, and dreamy.
• Economic Conditions – In places where life is easy and abundance
prevails, dances are likely to be gay and lively. In places where life is hard,
dances are slow and mournful.
 5

Values of Folk Dances

Folk dancing as dance and physical activity has its values wherein people can
benefit. These are cultural values, social and recreational values, and neuromuscular
values.

• Cultural Values

The study of folk dances leads to cultural education. Through these dances, we
can learn the life, customs, beliefs, rituals, ideals, traditions, and even the occupations of
a particular group. Folk dances can offer us insights into different cultural dimensions and
help us acquire knowledge, develop understanding, and respect in giving importance and
appreciation to different cultures, traditions, and norms.

• Social and Recreational Values

Participation in folk dances provides the opportunity for individuals to meet and
socialize with other people since most of its dances are done in pairs or groups. Through
folk dancing, individuals can develop and build new relationships or can maintain good
and strong relations with friends, family members, loved ones, or in the community.
Similarly, engaging or performing folk dances can also be used as a recreational activity
where people can enjoy their leisure time at the same time diverting their attention from
stress-producing thoughts to a more relaxing and positive focus.

• Neuromuscular Values

As a dance and physical activity, folk dancing offers us physical education, health,
and fitness. By moving our bodies, these dances improve the functioning of the different
systems of our bodies while developing our skills in dancing such as coordination,
balance, strength, stamina, flexibility, and mobility as well as self-confidence, poise, and
grace.
 6

Dos and Don’ts in Folk Dancing

To fully appreciate the true essence of folk dancing and as a culture-based activity,
one must follow the rules in performing a folk dance. The dos and don’ts of folk dancing
shall serve as one of the guides in preserving and maintaining the authenticity of the
dance and its uniqueness from other genres of dances.

DOS in FOLK DANCING DON’TS in FOLK DANCING

1. Dance in a natural, simple and direct 1. Do not exaggerate the dance steps.
manner. 2. Do not make the dances too dainty and
2. Dance with ease and smoothness. graceful like ballet.
3. Use the proper costume for the dance. 3. Do not make the entrance and exit long.
4. Follow directions and dance instructions 4. Do not make steps too elaborate and
as closely as possible. complicated.
5. Dance with feeling and expression. 5. Do not call a dance a folk dance unless
steps come from traditional dances.
 7

Lesson 8: Historical and Theoretical Background of

Philippine Folk and Ethnic Dances

Let’s Get Started

This activity will assess whether you are familiar with our Folk and Ethnic Dances
by the costumes and implements worn and used by the dancers. In each number, choose
P if the costume worn and the implement used is for Philippine Folk and Ethnic Dances,
F if it is for Foreign Dances.

Activity 7: Folk Dance Tracing

Click the link provided to accomplish the activity.
Link: https://forms.gle/HM1WpdRF39WZ5HzRA

Philippine Folk and Ethnic Dances

The kinds of dances found in a nation reveal the culture, art, and temperament of
the people of that nation. True enough, the kinds of dances found in the Philippines even
before the Spaniards set foot on Philippine soil reveal the high culture of the Filipinos. As
a people, the Filipinos love singing, dancing, and feasting. For centuries, these have been
the recreational activities of the people. They have dances and songs for all occasions,
and each originated uniquely, serving a certain purpose. Undeniably, Philippine folk
dance mirrors the culture and tradition of the Filipinos. It has been considered a source
of the cultural identifier of the people.

Philippine folk dances of today have the peculiar combination of Spanish and
Oriental movements. Due to contact with the Spaniards for more than three centuries, the
music and dances naturally bear the mark of their influence. In this respect, the dances
are different from other Oriental dances. Without a doubt, many of the dances found in
the Philippines are of Spanish origin, and a few bears French, English, American, and
 8

Malayan influences. Nevertheless, they were performed, adapted, and interpreted by

Filipinos so long ago, that they have become traditionally Filipino. And so, the history of
Philippine folk dancing incorporates influences from immigrants and conquerors while at
the same time maintaining distinctly Filipino roots.

Brief History of the Development of Philippine Folk and Ethnic Dances

Philippine folk dancing is a true reflection of daily life in past centuries and is
considered the history of the people in movement. In the Philippines, folk dance is a strong
and enduring indigenous expression. However, knowing exactly when dancing became
a part of life in the Philippines is impossible. There is no recorded "start" to Philippine folk
dances. It has been said that the moment or if there have been people on the islands,
they have been dancing and that already marks how folk dancing started in the
Philippines.

Filipino folk-dance history is not the history of a single national dance of one or two
regions. Dances evolved from different regions which are distinct from one another as
they are affected by religion and culture. In the Philippines, dance is as diverse as the
culture intermingling in the archipelago. It encompasses all the dance forms that have
been used by the Filipinos through the centuries to express themselves. This dazzling
diversity of dances in different forms and dynamics grew out of the times, situations, and
experiences of the people and the exposure to the varied cultures and traditions
introduced by the waves of colonial rule that have reached the Philippine shores.

Pre-Colonial Period

Before the recorded history of the Philippines, before the Spanish conquistadors
conquered and Christianized the populace, from the earliest occupation of this volcanic
archipelago, the people danced. They danced to appease the gods, to curry favor from
powerful spirits, to celebrate a hunt or harvest, to mimic the exotic life forms around them.
They danced their stories and their shamanic rituals, their rites of passage, and their
remembered legends and history. Dances during this period were considered by some
 9
Francisca Reyes Aquino
Mother of Philippine Folk Dance
historians, anthropologists, and researchers as
dance in its purest form because this dance form
has not been refined, developed, trained, or
guided by an artist. To the early Filipinos, dance
was an expression of community life that
Francisca Reyes Aquino, the legendary
animates the various rituals and ceremonies.
"Mother of Philippine Dancing," was born in
Lolomboy, Bocaue, in the Philippine Province of
Muslim Merchants
Bulacan, on March 9, 1899. She was the eldest of
three children of Filipe Reyes and Juliana Santos Muslim traders from the Malay
Reyes of Manila. She obtained her High School
Teacher's Certificate in 1923 and her Bachelor of Archipelago reached the Philippines in the 14th
Science in Education degree in 1924 from the
century, well ahead of the Europeans. Their
University of the Philippines.
conversion of the populace was a modest affair;
As early as 1921 to 1923, Francisca
they were more interested in commerce than
began her search for folk dances to use in classes
while a Student Assistant in Physical Education. colonization, although they did establish
She traveled to remote barrios (rural
communities) in Central and Northern Luzon. In strongholds and convert the local populace to
1924, she became an Assistant Instructor. She Islam. They also created their folk dances in the
quickly saw that, with further impact of Western
culture, many dances would be lost or areas where they settled.
extensively modified.
Spanish Colonization
She continued gathering folk dances,
Folk dances survived the European invasion,
songs, and games for her master's thesis at the
University of the Philippines in 1926. She revised and the dancers adapted imposed Christian
her work in 1927 and published it as Philippine
Folk Dances and Games. In this and later belief and culture to their dances, borrowing
collections, the great diversity of dance type, court choreography but instilling it with Philippine
tempo, and music reflected a many-faceted
Filipino character. spirit. True enough, being exposed for almost
four centuries to the influence of European
She was asked to chair a committee at
the university that would go to the most remote dances, the Filipinos gradually assimilated the
areas of the Philippines to gather material dances of the Spaniards, evolving their simplified
directly from the old people who used to dance
them in their younger days. The hundreds of versions and derivations of the different forms
dances were collected and transcribed with with each region adding its touches. The
close attention to their authenticity and local
color, then presented to the Manila public at elegance of the body and arm movements of
various dance recitals. The university offered
foreign dances fascinated the Filipinos, so they
dance classes in the physical education
department and a folk-dance troupe was formed adopted these. However, the sharp and fast
that toured the provinces to acquaint the people
with the various folk dances of the country.
 10

movements of most European dances were tempered and softened by the languid grace
that is characteristic of many Filipino dances.

American Colonial Period

Just like in the Spanish colonization, the Americans, in 1898, had brought in their
commercial and global culture which had also influenced the Filipinos. Those with interest
in dance were the ones mainly appealed to by the more Black-influenced customs of
dance and music. With these Filipino dancers who already know the zarzuela (sarswela),
a Spanish form of stage performance with singing and dancing and musical comedy, they
became more interested in the American vaudeville (bodabil) or “stage show”, which is
filled with both theatrical and circus acts, and more reminiscent of Broadway musicals.
But later, it included Philippine folk dances and choreographies among its production
number.

Objectives of Learning Philippine Folk and Ethnic Dances

Folk arts, specifically folk music, and dance, embody fundamental values of great
worth to our culture, our nation, and our children. Philippine folk dance helps keep the
people connected to their ancestry and their traditions. It helps to preserve the cultural
unity of the people. Therefore, teaching and learning our folk and ethnic dances will help
us achieve the following objectives:

1. To foster patriotism and nationalism through the study of our dance.

2. To arouse better appreciation of Philippine music and folk dances.
3. To provide through dancing, a healthful form of relaxation and recreation.
4. To develop graceful and rhythmic coordination of body movements that will
improve posture.
5. To preserve for posterity, folk dances and music indigenous to the different
regions of the Philippines.
 11

6. To demonstrate the growth of Filipino culture through the evolution of Philippine

dances.
7. To commit to the ideals of cultural development as a vital factor in nation-
building.
8. To enhance the cultural values demonstrated in various folk dances
aesthetically, morally, and physically.
9. To actively participate in folk dancing for its intellectual, moral, and aesthetic
values.
10. To disseminate Philippine traditional dances in their pure and authentic form.
11. To instill the love for performing the folk dances as a cultural legacy and to show
to other nations the identity of the Filipinos as a people.

Characteristics of Philippine Folk and Ethnic Dances

Filipino folk dances are colorful, beautiful, and vibrant. Their movement, dress, and
music reveal the unique Filipino culture and are important in building a national Filipino
identity. Various characteristics of Philippine Folk Dances are enumerated below to help
us differentiate our dances from other countries' folk dances.

1. As a rule the dances begin and end with a "saludo" (salute) to partner, to the
audience, or honored guests. A "saludo" is a three-step turn in place (R to L) and
a bow.

2. In general, dancers are far apart. Partners dance about six or eight feet apart
from each other.

3. There is little, if any, bodily contact. No linking of arms, no shoulder-to-shoulder

or shoulder-to-waist positions are found in our dances. The most common hold is
joined hands.

4. Most of the dances are done in pairs.

5. Hand movements play an important part in the dances. Different regions have
different ways of holding and moving hands while dancing.
 12

6. Most of the dances are of the longways formation.

7. Dances from the lowlands (of the Christians) have a greater mixture of foreign
elements.

8. War or duel dances are found only among the non-Christians and pagans.

Classification of Dances

Philippine dances may be roughly and informally classified according to the

following categories:

A. General Classification

1. Geographical extent or origin

(a) National dances. These are traditional dances found throughout

the Philippines with a common basic movement or pattern but with
slight variations owing to the influence of local customs and
traditions.

Examples: Rigodon, Carinosa, Jota, Balitaw, Pandanggo

(b) Local or Regional Dances. Dances that are found in certain

localities or regions only.

Examples: Tinikling-Leyte
Maglalatik-Binyang
Esperanza-Nabua
Subli-Batangas
Biniganbigat-Abra
 13

2. Nature

(a) Occupational dances

Dances depicting actions characteristic of certain

occupations, industries, or phases of human labor. Many of these
dances are also national in character, but because of local practices,
they are done in different ways.

Examples: Planting, Harvesting, Pounding, Winnowing, Mananguete

(b) Religious and ceremonial dances

These dances are performed in connection with religious

vows, practices, or ceremonies. A religious dance may be performed
(i) to fulfill a vow; (ii) in honor of a Patron Saint or a Holy Cross; (iii)
to give thanks for having recovered from sickness, or (iv) to honor
somebody on his or her birthday.

Examples: Dugsu, Sua – sua, Putong, Sta. Clarang Pinong-pino

(c) Courtship dances.

These dances depict love-making or have love themes. A

young man may make known his love for a girl through dancing.
These dances are usually accompanied by songs sung by the
dancers themselves.

Examples: Hele – hele, Bago Quiere, Maramion, Tadek,

Daling – daling
 14

(d) Wedding dances

These dances are performed in connection with marriage

celebrations. They may be performed by the newlyweds, by friends
and relatives of the bride and groom, or by the father of the bride with
the mother of the groom and the mother of the bride with the father
of the groom.

Example: Panasahan

(e) Festival dances

These are dances performed in connection with a celebration,

a feast, a barrio fiesta, good harvest, good fortune or favors granted;
and other social gatherings. The majority of folk dances belong to
this group.

Examples: Pandanggo, Habanera, Jota, Surtido

(f) War dances

These dances are intended to show imaginary combat or duel

with the use of fighting implements like the bolo, kris, spear, and
shield.

Examples: Sagayan, Palu-palo

(g) Comic dances

These are the dances with funny or humorous movements

mainly intended for entertainment.

Examples: Kimbo – kimbo Makonggo, Kinoton

(h) Game dances. These dances have some play elements in them.

Examples: Lubi – lubi, Pavo

 15

3. Movements

According to movements, the dances may be classified into four groups:

(a) Fast or active

Examples: Tinikling, Maglalatik, Sakuting, Polkabal

(b) Moderate
Examples: Cariñosa, Tagala, Habanera, Purpuri

(c) Slow
Examples: Pasakat, Amorosa, Tiliday, Kundiman

(d) Combination of fast and slow movements

Examples: Putritos, Ba-Ingles, Habanera Botoleña, Alcamfor

The majority belong to the moderate type. Philippine dances, like many
other dances, are affected by climatic conditions. The warm climate is not
conducive to vigorous or strenuous movements. Hence, energetic and fast
movements are seldom found in these dances.

4. Formation

The dances may also be classified according to their original

formations or starting positions into:

(a) Square or quadrille

Examples: Rigodon, Los Bailes de Ayer

(b) Longways (two or more parallel lines)

Examples: Lulay, Sakuting

(c) Set formations (consists of two or more pairs as a unit, partners

facing each other or standing side by side)
Examples: Binadyong, Haplik, Kakawati
 16

B. Special Classification

The Philippine folk dances may also be classified according to special

distinguishing features, as follows:

1. Dances with songs.

Some dances are performed with song accompaniments by the
dancers themselves, by the audience, or by all present. The songs give
more meaning to the movements of the dancers.
Examples: Aburaray, Manang Biday, Lulay, Rogelia, Lawiswis Kawayan

2. Dances with the use of objects or implements.

Many of the dances are made more effective with, or cannot be done
without, the use of some objects or implements by the performers or by
their helpers. Among the implements used are coconut shells, wooden
sticks, fan and handkerchief, a glass of wine, three lighted oil lamps
(tinghoy), two bamboo poles or pestles struck together by the helpers,
handkerchief, hats, anklets or bells, bamboo or wooden castanets,
"anahaw" leaves (a kind of palm), war implements such as bolo, spear,
shield, kris, etc.
Examples: Maglalatik, Sakuting, Jota Moncadeña, Tinikling, Salakot

3. Dances of combined rhythm.

There are a few dances that have a combination of two rhythms: the
two-four (2/4) and three-four (3/4) or two-four (2/4) and four-four (4/4).

Examples: Surtido, Pantomina, Los Bailes de Ayer

4. Old ballroom dances. These were used for ballroom purposes.

Examples: Polka, Mazurka, Chotis, Valse
 17

Other Major Classification of Philippine Folk Dance

Philippine folk dances consist of five major suites, namely Cordillera, Maria Clara,
Muslim, Lumad/Tribal, and Rural. Each of the suites involves a repertoire of folk dances
that hail from different locations in the country.

A. Cordillera Suite
Cordillera suites are the dances of the people on the highlands of the north
known to be the home of ferocious headhunters who existed even before the
arrival of the Spanish. Ethnolinguistics groups such as the Benguet, Bontoc,
Apayaw, Kalinga, Ilunggot, Itneg, and Gadang are the people who performed and
formulated these dances. Dances are mostly depicting war, thanksgiving,
marriage, and the normal way of life of the people. Music also plays a vital role in
their lifestyle. Ragsaksakan (merriment), banga (pots), and tarektek (woodpecker)
are examples of dances from the Cordillera suite.
 18

B. Maria Clara Suite

Maria Clara's suite includes dances adapted from various European

influences blended with a native flair and style. Apparent in these romantic dances
are courtship, love, and flirtation. The Spanish occupation of the Philippines in the
16th century brought changes to many Filipinos, who adapted to the European
culture. Named after the lead female character in the novel Noli Me Tangere
written by Jose Rizal, the Maria Clara suite symbolizes the virtues and nobility of
a Filipina woman fused with Spanish elegance, making it popular among urban
Filipinos at the time. The famous Cariñosa of Panay Island, Habanera (wedding
dance party) of Zambales, Alcamfor of Leyte, and Balse belong to this suite.

C. Muslim Suite
 19

Long before the Spanish occupation, Javanese and Middle Eastern traders
brought the religion of Islam and converted many inhabitants of Mindanao in the
southern part of the Philippines. Muslim dances are known for their intricate hand
and arm movements, as well as their shimmery costumes. These dances persisted
in the last six hundred years despite prohibition by Islamic teachings. They are
presented with vivid colors and rhythmic movements, revealing the influence of
Arabian and Indo-Malaysian cultures.

Most dances narrate the pre-Islamic history and are accompanied by

musical instruments, such as kulintang and agung. Singkil is the most popular
dance among the Maranao and Maguindanao. Other Muslim suite examples are
kini kini (meaning royal walk), kapagasik, and kaganat sa darangen, which
illustrate the customs of wearing a malong (also called patadjong in Visayan).

D. Lumad/Tribal Suite
 20

Several ethnic groups occupy the southern Philippines, including the 18 tribal
groups collectively known as the “Katawhang Lumad” or simply Lumad. These are
the indigenous groups who still live traditionally, like how their ancestors existed
centuries ago. Lumad or tribal suite are dances of ethnic pagan origin that portray
rituals to honor pagan gods. It includes dances such as Dugso of the Higaonon,
Sohten of the Subanon, and Lawin-Lawin of the Bagobo.
 21

E. Rural Suite

Rural suite originated in the Christian Lowlands of the Philippines. The dances
embody the many joys of work and life among simple country folk, who tend to
their farms during the day and relax after a hard day’s work through dancing. It
also includes lively musicians playing guitars, as well as cheerful villagers. Among
the most popular dances of the rural suite is Gaway-Gaway of Jaro, Leyte
portraying children celebrating a beautiful harvest of the gaway root crop, with
movements like the pulling of the stalks. This suite also includes dances such as
Maglalatik, Palu-palo of Laguna, Tinikling, Pandanggo sa Ilaw, Sinulog, and
Binasuan.
 22

Costume of Philippine Folk and Ethnic Dances

23
 24

UNIT 3 Activities – Lessons 7 & 8

Activity 8: Be an Advocate!

Direction: In this activity, the class will be divided into groups with 5-6 members. The
groupings will be based on the class list, and they will be in alphabetical order.

For this activity, you are task to:

1. Create a short promotional video showcasing the Filipino culture by using our
dances, the Philippine folk, and ethnic dances.

2. The duration of the video must be 2-3 minutes only.

3. Be creative in making your advocacy.

4. Remember to put the name of your group as well as the names of the members
who actively participated and contributed to the accomplishment of your video.

5. Your video presentation is worth 50 points. Refer to the rubrics on how your group
work will be rated.

6. Submit and turn in your Activity 6 & 8 on April 18, 2022 (MW Class) and April 19,
2022 (TTh Class) in our Google Classroom. Only one member will attach the video
and the rest of the members will just turn in and mark the assignment as done.
 25

RUBRICS FOR PROMOTIONAL VIDEO

Category Excellent Good Acceptable Partial Minimal

10 pts. 8 pts. 6 pts. 4 pts. 2 pts.
Content & The content Information is The content Content lacks The video
Organization includes a clear presented as a does not a central has very
statement of connected present a theme, clear poor content
purpose or theme theme with clearly stated point of view, and
and is creative, accurate, current theme, is and logical organization
compelling, and supporting vague, and sequence of of ideas.
clearly information that some of the information.
demonstrated. A contributes to the supporting Much of the
rich variety of understanding of information supporting
supporting the main idea. does not seem information is
information in the Details are logical to fit the main irrelevant to
video contributes and persuasive idea or the overall
to the information is appears as a message. The
understanding of effectively used. disconnected viewer is
the main idea. The content series of scenes unsure what
Events and includes a clear with no the message is
messages are point of view with unifying main because there
presented in a a progression of idea. is little
logical order. ideas and persuasive
supporting information
information. and only one
or two facts
about the
topic are
articulated.
Information is
incorrect, out
of date, or
incomplete.
Promotional The promotional The promotional The The The video
Values and video is focused video is focused promotional promotional does not stay
Usefulness and very and informative. video is video focused on
informative. Promotes the use informative. demonstrated the topic.
Promotes the use of computer Promotes the the use of
of computer technology to use of computer
technology to create the video computer technology
create the video in to deliver technology to but has
delivering information. The create the problems
information to an video attracted video to staying
audience. The attention in 2 or deliver focused on
video successfully more ways. information. the topic. The
attracted The video video is
attention using a attracted little inaccurate
variety of attention and and does not
techniques. is unsuccessful persuade the
in persuading audience.
the audience.
 26

Visual Clarity Has an excellent Has a nice design Needs Needs The video
and Appeal design and layout. and layout. It is improvement significant has a poor
It is neat and easy neat and easy to in design, improvement design and
to understand the read. layout, or in design, layout and
content. neatness. layout, and lacks
neatness. neatness.
Technical The editing shows The video is Adequate Poor editing The video is
Aspect smoothly skillful edited thought was and flow. very poor in
integration of effectively, flows given to Choppy terms of the
visuals, narration, well. Transitions editing. transitions and technical
sound effects, and and titles are Transitions are timing are off. aspects.
transitional effects used effectively. used where Connections
so that they Visuals are used appropriate between
appear to optimize the but could be visuals and
transparent as the impact of what is done more message are
viewer is focused being said. The effectively. unclear.
on the message. timing of visuals, Visuals, where Length is not in
sound, and present, usually the 2–3-minute
content is add something range.
synchronized. worthwhile to
Length is in the 2- the message.
3-minute range. Timing and
synchronization
of sound and
content are
usually good.
Length is too
long or too
short but not
by much.
Collaboration Effective Students worked The Obvious that The video
teamwork. The together and presentation the output does
final output were assigned was a result of presentation not show
represents different roles. All a group effort, was created collaboration
something that students in the but only some by one person. at all.
would have been group participate members The group is
impossible to actively 100% of contributed. unable to
accomplish the time. Some students complete the
working alone. All in the group video in a
students in the participate timely fashion.
group participate actively.
actively 100% of
the time.