PHYSICAL EDUCATION - 8

Name: ______________________________________ Date: ____________________

Grade: ______________________________________ Section: ___________________

Quarter: ___4__ Week: _1 MELC(s): Describe the nature and background of the
dance (PE8RD-IVc-1)
Title of Textbook/LM to Study: Physical Education and Health Grade 8 Learner’s
Material
Chapter: IV Pages: _153-161 _ Topic: Regional and National Dances with Asian
Influence
⮚ Objectives: Identify the nature and background of selected folk dances in
the Philippines with Asian Influence .

Let Us Discover

Philippine folk dances speak so much about our people's heartbeat, for they tell about
our customs, ideas, beliefs, superstitions, and daily living events in a particular community.
Just by looking at the costumes, props, and implements of a specific group or tribe would tell
you of the dance's origin. The kind of music being used readily also to know about the
influences brought about by trade and settlement of our neighboring countries such as China,
Malaysia, Indonesia, Burma, Cambodia, Thailand, and Japan, to name a few.

The evidence of acculturation in the country is seen in the kinds of costumes, props,
music, and dance steps used and integrated into some of our regional and national folk
dances. The use of gongs, kulintangs and incorporating the pentatonic system principles are
concrete proofs of acculturation in the country. These are the reasons why Philippine folk
dances contribute to the vibrant culture of the country.

The following historical backgrounds and context of the dance literature of Binislakan,
Sakuting, Sua-ku-Sua and Pangalay would give you a clear picture of the nature and
background of these regional and national folk dances. This information will help you
understand its significance and cultural value, including the beauty and complexity of the
people’s lives living in those places.

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 FOLK DANCES IN THE PHILIPPINES WITH ASIAN INFLUENCE

SUA-KU-SUA
Dance Researcher: Ramon A. Obusan
Meaning: My Pomelo Tree
Dance Culture: Lowland Muslim (Coastal)
Place of Origin: Jolo, Sulu
Country of Influence: China, Malaysia and Indonesia
Ethno-linguistic Group: Tausug
Classification: Courtship Dance

Background/Context:
The Tausug of Sulu, Southern Philippines, though known as fearsome warriors,
are also better known as sturdy seafarers and hardy farmers. Extensive orchards are
planted with coconuts and pomelos and fields with staples like rice and root crops. At
harvest time, pomelo fruits are gathered in big baskets before they are sent away. The
Tausugs depend strongly on the income the pomelo brings them. This relationship is
romanticized by comparing the sua's delicate leaves, slender branches, attractive
fruits, and fragrant flowers to a lady's virtues. Put to music, it is this song that is sung
by couples while flapping two white fans, each resembling leaves rustling in the wind
in the Sua-Ku-Sua Dance. Women mostly dance Sua-ku-sua performers come to the
festivities with face thickly covered with finely ground rice powder. Their eyebrows
and sideburns enhanced with soot- all for beauty's sake.

Movements/Steps Particular to Dance:

Creative imagery: Fans transform into tiny sails, face mirrors, butterflies, shields and
leaves. Tausug traditional steps with Chinese influence.

Dance Properties:
Costume:
Female: Top (Barawasi) : Traditional loose blouse, long sleeves wit deep, plunging
key-hole neckline. Extra panels attached to the right and left chest
decorated with many tiny brass buttons.
Material : Cheap printed or plain Chinese silk or cotton.
Pants (Sawal or Kantiu) : Loose Chinese pants with a 10-inch soft white band
(coco curdo) attached to a wide waist. To tuck the pants in, the white
band is overlapped in front, one side on top of the other and rolled out to
form a tight belt.
Material : Cheap Chinese silk or any silky material preferably in navy blue,
sunshine yellow, grass green, red or orange colors
Shoulder band (Siyag) : A separate wrap-around malong of rich material strung
over the right shoulder crossing the chest and hanging on the left side.
Headpiece:
There are three choices
1. Gold or brass filigree called tusuk;
2. Paper bills pasted on slender sticks; and
3. Pasteboard cut-out, the front tip 8 to 10 inches high, similar to Chinese
crowns covered with gold foil.
Accessories: Gold or imitation gold earrings, necklace, bracelets and brooches.
Suggested Footwear: Dancers are in barefoot.

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Male: Top (Bajo) : Short-waist collarless shirt. Open at the front with the right panel
overlapping the left, studded with many tiny brass buttons and is not intended
to close the front but used as an additional shirt decoration. It is allowed to
drop on the right side.
Material : cheap printed or plain Chinese silk or cotton.
Pants (Sawal or Kantiu) : Similar to the female pants but in darker colors and bolder
designs.
Accessories : Money-belt, Sarok hat, pis siyabit (rectangular hand-woven scarf tied on
the head or hung loosely over one shoulder); Kris (wavy knife) or Barong
(leaf- knife).
Suggested Footwear : dancers are in barefoot
Music : 2/4 and 4/4; composed of three parts: A, B and C. Gabbang- bamboo
xylophone shaped like a small boat. Bamboo slats thinned and cut to
graduated sizes to produce three octaves of pentatonic scale
Count : 1, 2 to a measure in 2/4 time signature1, 2, 3, 4 to a measure in 4/4/ time
signature.

PANGALAY
Dance Researcher : Francisca Reyes-Aquino
Meaning : Finger nail
Dance Culture : Lowland Muslim (Coastal)
Place of Origin : Sulu
Country of Influence : Thailand, Malaysia, Burma, Cambodia and Indonesia
Ethno-linguistic Group : Tausug
Classification : Social Dance

Background/Context:
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the traditional
“fingernail” dance of the Tausūg people of the Sulu Archipelago and Sabah. This
dance is the most distinctively Asian of all the Southern Philippine dances because
dancers must have dexterity and flexibility of the shoulders, elbows, and wrists-
movements that strongly resemble those of “kontaw silat,” a martial art common in the
Malay Archipelago. The Pangalay is performed mainly during weddings or other
festive events [1]. The male equivalent of the Pangalay is the Pangasik and features
more martial movements, while a pangalay that features both a male and female
dancer is called Pangiluk. The original concept of the Pangalay is based on the pre-
Islamic Buddhist concept of male and female celestial angels (Sanskrit: Vidhyadhari,
Bahasa Sūg: Biddadari) common as characters in other Southeast Asian dances.

Dance Properties:
Costume: Dancer wears a typical Joloana costume
Accessories: Expert and professional dancers use janggay, extended metal finger
nails in each finger. The rich people have janggay made of solid gold or
silver.
Suggested Footwear: dancers are in barefoot.
Music: Played as many times as necessary. Count one, two or one, and, two and to a
measures.
Movements/Steps Particular to Dance:
There are no definite directions, sequence of figures, number and kinds of steps, hand
movements and positions used when performed by the natives.

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For teaching purposes, the figures of this dance may be created and dancers may
form their own combinations.

BINISLAKAN (Lingayen)
Dance Researcher : Francisca Reyes
Meaning : With the use of sticks
Dance Culture : Christian Lowland
Place of Origin : Pangasinan
Country of Influence : China
Ethno-linguistic Group : Pangasinense
Classification : Social Dance

Background:
Lingayen in Pangasinan means having to look backward and upward. It was
derived from “Li-King-Tung”, a Chinese word given to the name Lingayen, the capital
of Pangasinan, by the Chinese settlers of this place a long time ago. The barrio folks
who lived at Almazin, a small place between barrio Pangasinan (Pulong) and Maniboc
danced this to commemorate the stay of Limahong, a Chinese pirate who built his
kingdom here. The dancers look backward or upward in some of the movements;
hence, the name Lingayen. They also use two sticks to produce rhythms imitating the
chopsticks used by the Chinese in eating, so the dance is also called Binislakan, which
in Pangasinan means, with the use of sticks.

Dance Properties:
Costume
Female : Siesgo and kimono with loose and long sleeves and soft panuelo
Male : Camisa de Chino and red pants
Music : 2/4 composed of two parts: A and B
Count : One, two, one and two, and one and two and
Formation : Partners stand about six feet apart. One or more pairs in a set
can take part in the dance, in any formation desired.

Let Us Try

Activity: Key to Knowing

Activity 1: Fix It!

Below are jumbled letters which when arranged correspond to regional and
national dances. Can you identify each? Write your answer in the space
provided.
1. ____________________1. GANAPYAL
2. ____________________2. LABISNIKAN
3. ____________________3. ASU-UK-ASU
4. ____________________4. SIOTLK
5. ____________________5. GIKNATUS

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 Let Us Do

Activity 2: Complete Me!

Complete the table by filling out the information needed.
Name of Literal Place of Dance Influenced
Dance Meaning of Origin Classification by what
the Name of Asian
the Dance Country
Sua-Ku-Sua Courtship China,
dance Malaysia and
Indonesia
With the use Lingayen,
of sticks Pangasinan

Pangalay Wedding/ Malaysia,

Festival dance Indonesia,
Thailand,
Burma and
Cambodia

Let Us Apply

Activity 3: Where do I belong?

This activity will activate your knowledge on the location and origin of folkdances
based on the costumes worn by the dancers in the pictures below. Observe and
analyze the following pictures below. Discuss the origin and location of the dance
and its costume.

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 References

Physical Education and Health Learner’s Module (Depart of Education

http://www.facebook.com/photo?fbid=3848119391891369&set=a.946545212048816
http://www.facebook.com/messenger_media?thread_id=100000800371527&attachm
ent_id=455857042292852&message_id=mid.%24cAAAAABIwno5-
8r2kfl4wXhViLKHy

SSLM Development Team

Writer: Riza Mae B. Jutar
Evaluator: Chito Jan Ray C. Balino
Illustrator:
Creative Arts Designer: Reggie D. Galindez
Division MAPEH Coordinator: Eden Ruth D. Tejada
Education Program Supervisor – Learning Resources: Sally A. Palomo
Curriculum Implementation Division Chief: Juliet F. Lastimosa
Asst. Schools Division Superintendent: Carlos G. Susarno, Ph. D.
Schools Division Superintendent: Romelito G. Flores, CESO V

Answer Key

LET US TRY LET US DO

1. PANGALAY
2. BINISLAKAN
3. SUA-KU-SUA
4. TIKLOS
5. SAKUTING

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