Grade 8 Learning Materials Under the K to 12 Curriculum MAPEH Grade 8 Physical Education Fourth Quarter
Regional and National Dances with Asian Influence INTRODUCTION Kumusta! Naimbag nga aldaw! Maayong buntag! Como esta usted? Assalam Malaykum! Hello Grade 8 learners! How’s your day? I hope that you are as strong, energetic, athletic and competitive as ever because for all you know, you will be needing all your strengths for the activities found in this module. When you were in Grade 7, you have learned to perform examples of local and Indigenous dances. You also learned to value them in order to maintain good health and eventually realized that folk dancing is indeed a good recreational activity. Just like any other sports or games, dancing is also a physical activity that can promote lifelong fitness and wellness. It is a good source of exercise that could help develop grace and poise. It can even help in maintaining good health as it highlights health-related fitness components such as cardio-vascular endurance, flexibility, and strength. With the effect of acculturation, indigenous dances of the Philippines may have been modified since the culture of other countries has influenced our very own dances. This is evident in the western style adopted in our folk dances. Along with this are the influences of our Asian neighbors that have enriched our national dances to a large extent. It is for this reason why there is a need for you to understand our cultural rootby learning our dances. This module will introduce you to the different regional and national folk dances of the Philippines with influences from other Asian countries. We are part of the on going history of trade and industry and that part and parcel are influences retained in us like textiles, color of fabrics, and design reflected in the costumes of the dance. Furthermore, this module anchors its framework on the holistic approach of using regional and national dances as potent sources for staying healthy and fit. At the same time, they are prime educational tools for learners like you.
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OBJECTIVES: At the end of the lesson, you should be able to
discuss the origin and location of folk dance through its costume and music execute selected regional and national dances with Asian influences such as the Binislakan, Sakuting, Sua-ko-Sua and Pangalay demonstrate the dance sequence appropriately identify the meaning of the gestures and hand movements of the dance selected. approximate interpretation of the dance literature promote folk dancing as a physical activity for the family.
Pre- Assessment: To check how ready you are on in terms of familiarity to dances with Asian influence, here are some basic ideas or concepts which will lead you to answer queries relative to performing these regional and national dances.
Part I- Examine the following pictures and anwer the accompanying questions.
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1. What general concept can be derived from the given pictures? Explain. 2. If you were to think of Asian countries that would closely relate to the given pictures, what countries could that be? Justify your answer. 3. Are these dances influenced by other countries? Prove your point. 4. Just by simply looking at their costumes and props, can you give the place of origin of these dances? What are your proofs to say so? 5. Can you give a storyline for each of these dances just by looking at their poses, costumes, and props? 6. Is there a need for proper expression in folk dancing? Does it speak of something? 7. Can you name examples of Philippine folk dances that have Asian influence? Can you demonstrate examples of foreign folk steps? What are their step patterns? 8. What are the implements that are commonly used in folk dances with Asian influence? What are they for? 9. Can you explain the effects of acculturation in the country based on the kind of dances we have? After finishing the test, you are now ready to face the Learning Goals and Targets of this module. As a grade 8 learner, what are your expectations? Write in your activity sheet your own learning goals in relation to this subject. One example of learning goal is basis in making your own.
(Example: I expect that at the end of this lesson, I will be able to identify and learn examples of regional and national folk dances with Asian influence.)
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______________________________________________________________
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Now that you have written your personal goals and targets, you may now procede to the next level which is a gateway for you to get acquianted with the basics in folk dancing. So enjoy your journey as you unravel the origin and historical background of the regional and national folk dances with Asian influence. Your journey starts now!!! Goodluck
PART I: WHAT TO KNOW
LESSON I
Learning Goal: Describe and discuss the nature and characteristics of the dances. Philippine folk dances speak so much about the heartbeat of our people for they tell about our customs, ideas, beliefs, superstitions, and events of daily living in a certain community.Just by looking at the costumes, props, and implements of a certain group or tribe would tell you of the origin of the dance. The kind of music being used readily also tell 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. Truly evident is the effect of acculturation in the country as manifested by the kinds of costumes, props, music, and dance steps that are used and integrated in to some of our regional and national folk dances. The use of gongs, kulintangs and the incorporation of pentatonic scale to our musical compositions are just concrete proofs of acculturation in the country. These are the reasons why Philippine folk dances contribute to the very rich culture of the country. The following historical backgrounds and context of the dance literatures 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 will help you 184
understand its significance and cultural value, including the beauty and complexity of the people’s lives living in those places. Study these dances carefully and imbibe in you their importance to the development of cultural value. BINISLAKAN (Lingayen) Dance Researcher Meaning Dance Culture Place of Origin Country of Influence Ethno-linguistic Group Classification
: : : : : : :
Francisca Reyes With the use of sticks Christian Lowland Pangasinan China Pangasinense Social Dance
www.kalilayan.com
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. 185
Dance Properties: Costume Female : Male
:
Siesgo and kimono with loose and long sleeves and soft panuelo 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.
SUA-KU-SUA Dance Researcher Meaning Dance Culture Place of Origin Country of Influence Ethno-linguistic Group Classification
: : : : : : :
Ramon A. Obusan My Pomelo Tree Lowland Muslim (Coastal) Jolo, Sulu China, Malaysia and Indonesia Tausug Courtship Dance
Source: www.kalilayan.com
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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 bring them and this relationship is romanticized by comparing the sua’s gentle leaves, slender branches, attractive fruits and fragrant flowers to the virtues of a lady. Put to music, it is this song that is sang by couples while flapping two white fans each resembling leaves rustling in the wind in the Sua-Ku-Sua Dance. Sua-ku-sua performers, some men but especially women come to the festivities with face thickly covered with finely ground rice powder and 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)
:
Material
:
Pants (Sawal or Kantiu) :
Material
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:
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. Cheap printed or plain Chinese silk or cotton. 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. 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.
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.
Male:
Material
: Pants (Sawal or Kantiu) : Accessories
Suggested Footwear Music
Count
188
:
: :
:
cheap printed or plain Chinese silk or cotton. Similar to the female pants but in darker colors and bolder designs. 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 (leafknife). dancers are in barefoot 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 1, 2 to a measure in 2/4 time signature 1, 2, 3, 4 to a measure in 4/4/ time signature
PANGALAY
Dance Researcher Meaning Dance Culture Place of Origin Country of Influence
: : : : :
Ethno-linguistic Group Classification
: :
Francisca Reyes-Aquino Finger nail Lowland Muslim (Coastal) Sulu Thailand, Malaysia, Burma, Cambodia and Indonesia Tausug Social Dance
http://images.search.yahoo.com/search/images;_ylt=A0PDoX5F909Qah8A0iSJzbkF?p=p angalay%20dance&fr=yfp-t-521-s&ei=utf-8&n=30&x=wrt&fr2=sg-gac&sado=1
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.[1] 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[2] – 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 189
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 preIslamic Buddhist concept of male and female celestial angels (Sanskrit: Vidhyadhari, Bahasa Sūg: Biddadari) common as characters in other Southeast Asian dances.
Dance Properties: Costume Accessories
Suggested Footwear Music
: Dancer wears a typical Joloana costume : Expert and professional dancers use janggay, extended metal finger nails in each finger. The rich people have janggay made of solid gold or silver. : dancers are in barefoot. : Played as many times as necessary. Count one, two or one, and, two and to a measure.
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. For teaching purposes the figures of this dance may be created and dancers may form their own combinations.
TIKLOS Dance Researcher Meaning Place of Origin Country of Influence Classification
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: : : : :
Francisca Reyes- Aquino Refers to a group of peasants Panay and Leyte China, Burma and Cambodia Recreational Dance
www.folkdance.tk
Background/Context: For centuries, Tiklos has been a very important factor in the social life of the peasants of Leyte. Tiklos refers to a group of peasants who agree to work for each other one day each week to clear the forest, prepare the soil for planting, or do any odd job in the farm, including the building of a house. At noontime, the people gather to eat their lunch together and to rest. During this period, Tiklos music is played with a flute accompanied by a guitar and the guimbal or the tambora (kind of drum). The music of Tiklos is also played to gather the peasants before they start to work. Dance Properties: Costume Music Count Formation
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: : : :
Dancers are dressed in working costumes. Divided into two parts. A and B. one, two or one, ah, two, ah or one, and, two to a measure. Partners stand opposite each other about six feet apart. When facing audience, the girl stands at partner’s right side. One to any number of pairs may take part in this dance.
SAKUTING
Dance Researcher Meaning
: :
Place of Origin Country of Influence Classification
: : :
Francisca Reyes Aquino Refers to rhythmic sticks producing the accompaniment for the dance. Abra and Ilocos Norte China Recreatinal and Social Dance
flickr.com
Background/Context:
This is a dance of the ethnic people living in the western side of the Cordilleras way back before the coming of the Americans to our country. During the Christmas, young boys and girls accompanied by their elders would go to the lowlands, especially in Abra and Ilocos Norte to dance in front of the houses and ask for gifts. These young children hold sticks, one on each hand and strike them together to make their dance more lively. The homes would give them money, homemade delicacies and other things. These dancing groups later reached as far as the coastal towns of Ilocos region as years went by. The rhythmic sounds produced by the stick attracted other children and also adults and they also learned the dance. “Sakuting“ is an ethnic term which refer to the rhythmic sticks producing the accompaniment for the dance. 192
Dance Properties: Costume
Music and
: Girl – Native Ilocano kimono style with sleeves of elbow length; skirt of bright-colored plaids shirred at the waist of ankle-length. Boy – Camisa de chino and red trousers, and a native hat. : 2/4 and ¾ rhythms and composed of 9 parts : A, B, C, D, E, F, G, H I.
Formation
: Audience
X O X O
O X O X
One set of dancers
Written Check-up: Below are jumbled letters which when arranged correspond to regional and national dances. Can you identify each? On a page in your activity notebook put numbers from 1 to 5. Write each formed word on the space provided before each number and try to share your knowledge about it. _______________1. GANAPYAL _______________2. LABISNIKAN _______________3. ASU UK ASU _______________4. SIOTLK _______________5. GIKNATUS
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Were you able to arrange the jumbled letters correctly? Please remember that the jumbled letters reflected on items 15 are the actual names of the dances which you are about to learn. To a certain extent, knowing the names of the folk dances could lead you to create certain impressions that are innate to the cultural background of the dance. To further measure how retentive your memory is, try to answer the next activity by recalling the significant details of the different dances below.
B. In your activity notebook or sheet, copy the table as shown and fill it in with information called for. Name of Dance
Literal Meaning of the Name of the Dance
Place of Origin
Sua-Ku-Sua
Social Dance
With the use of sticks Sakuting Tiklos Pangalay
Dance Classification
A group of peasants
Lingayen, Pangasinan Abra Leyte
Influenced by what Asian Country? China, Malaysia, Indonesia
Social Dance Recreational/Social Dance Wedding Dance
Malaysia, Indonesia, Malaysia, Thailand, Burma and Cambodia
Note to the learner: One dance should only be taught by your teacher for the 4th quarter. However, if time allows you to learn one more dance or all of the five dances, then that will be a lot better. 194
Have
you
filled
out
the
correct
information in the table above? After knowing
the
important
concepts
derived from the previous learning, try to strengthen your understanding by doing the following activity.
Activity 1: Tracing the origin and location of a Dance through its costume.
WHERE DO I BELONG? This activity will activate your knowledge on the location and origin of folk dances based on the costumes worn by the dancers in the video presentation. 1. In a sheet of paper, write the place of origin of the dances you saw in the video presentation by recognizing the costumes and props, facial expressions and body gestures of the performers. Your teacher here will show you a video presentation of different dances with Asian influence like Singkil, Kappa Malong, Pangalay, Sua-ku-Sua, Sakuting, Binislakan, Tiklos etc. If video presentation is not possible, your teacher will show you different pictures of costumes and props that are used for certain dances in various places of the country. Choose one from the following choices: a.Luzon b.Visayas c.Mindanao.
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Were you able to successfully trace the place of origin of all the dances presented? If so, try to apply your learning on the next activity. However, if you missed some important points, ask your teacher to help you analyze the lesson before doing the next
activity.
Activity 2:
DRESS ME UP!
This activity will activate your knowledge on the location and origin of folk dances based on the costumes worn by the dancers. Study the procedures given and do what is asked of you to perform. This could be an individual or group activity.
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Prepare a miniature boy and girl dancers made of cartolina and post it on the board. Create different regional costumes in the Philippines made of Manila paper.
Dress up the miniature dancers and name the province where they come from.
In tracing where the costumes are usually worn, consider the geographic location or terrain where the costumes are suited and the respective props used by the dancers and even their facial expressions.
Be ready to share your knowledge about the origin and background of the folk dances considering their costumes, expression and implements used. Justify your answers.
Did you enjoy the activity? Did you observe cooperation and teamwork with members of your group while doing the task? If you did, congratulations for having done a great job! So you are now ready to go to the next level. You are now faced with a bigger challenge this time by doing some movements. Here, you will have a chance to express your feelings by doing some rhytmic patterns that will be needed for the dances cited.
LESSON II
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
Activity 3. Listening While Playing
1. Close your eyes and listen to the recorded music of Sua-ku-Sua and Pangalay. What is the time signature of the music? Is it done in duple, triple, or quadruple meter? Why do you say so? 2. Feel the beat and rhythm of the music and do the following activities with your eyes now open: a. Clap your hands in time with the music. b. Stamp your feet and do some rythmic improvisations using the same music. c. Use any materials that could be used as percussive instruments as in beat-box and produce rhythmic sounds. d. Use body gestures or accompany it with vocal sounds in time with the music being played. 3. For variation, repeat items 1-2 using the recorded music of Tiklos, Binislakan and Sakuting.
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Well done! How did you feel while performing the activity? Do you think that feeling the beat and rhythm of the music plays an important role in any dance performance in so far as proper timing is concerned? You will find the answer after doing the next activity.
Now you can do another
activity to enhance the skills you’ve learned.
Part II- WHAT TO PROCESS
In this activity, you’ll learn the importance of rhythm in the performance of folk dances. Activity 4: Let’s Get Loud! 1. Your teacher will group your class into four. 2. Using any medium for sound production, you and your groupmates will produce sound in time with the rhythm of the music commonly used in the regional and national folk dances. Using the douple meter as your basis in producing the sound, divide your group into two and create different rhythmic combinations for 16 measures to be played simultaneously with your groupmates. You can use any of the following that could produce sounds: a. b. c. d.
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clapping your hands stampping your feetproducing vocal sounds snapping your fingers using any materials as percussive instruments
3. This time, create rhythmic combination using the triple meter for another 16 measures. 4. Always observe the principles of accent, intensity, dynamics, and tempo in your routine. 5. After a ten-minute rehearsal, perform your output in class. Perform the rhythmic combination in douple meter first, then the triple meter or vice versa. Refer to the following rubrics to be used for evaluation. 6. After the group performance, discuss in class the importance of rhythm in the performance of folk dance.
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ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE IN RHYTHM
Weight
5
4
3
2
1
200
Musicality
Degree of Difficulty
Characterization
(Timing, Dynamics, and Mastery)
(Complexity and Intricacy in the Use of Rhythmic Patterns in Various Meters)
(Behavior During Performance)
40%
40%
20%
MASTERFUL: Performs rhythmic composition with high level of musicality while observing proper timing, dynamics and mastery
SKILLFUL: Creates skillful composition of complex and intricate rhythmic patterns in duple, triple, and quadruple meters.
MATURE: Demonstrates proper characterization and appropriate behavior in the performance and with high level of confidence
STRATEGIC: Performs rhythmic compositions with a certain level of musicality while observing proper timing, and mastery but with limited ability to perfom with dynamics
COMPETENT: Creates a certain degree of skillful composition of complex rhythmic patterns in duple, triple, and quadruple meters.
SENSITIVE: Demonstrates proper characterization and appropriate behavior in the performance and with a certain level of confidence
ABLE: Performs rhythmic compositions with mastery and limited but growing ability to perform with timing and dynamics
PRACTITIONER: Creates a commonly accepted composition of simple rhythmic patterns in duple, triple, and quadruple meters.
AWARE: Demonstrates generally acceptable characterization and proper behavior towards the performance and with a certain level of confidence
APPRENTICE: Performs srhythmic compositions with general mastery but could hardly adapt to varying dynamics and timing
APPRENTICE: Creates rhythmic patterns but could hardly distinguish differences among duple, triple, and quadruple meters
DECENTERING: Displays inconsistent characterization and demonstrates low level of confidence
NOVICE: Performs rhythmic patterns with low or no mastery, timing, and dynamics
NOVICE: can not create any rhythmic pattern at all
EGOCENTRIC: Has little or no characterization and behaves inappropriately towards the performance
You’re smart! Now I think you’re ready for the next activity which is more challenging than the previous one. Keep going.
PART III- WHAT TO REFLECT AND UNDERSTAND
Activity 5- Fill-in-the-Gap 1. In this activity, I have learned to realize that ________________________. 2. I can create rhythmic patterns by ________________________________. ________________, and using any_______________________________. 3. To be able to make rhythm complete, the principles of accent, intensity, __________ and _______ should be observed. 4. I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music. 5. For me, rhythm is just as important as _____________ because without it, ________________.
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Now that you have realized the importance of
rhythm,
you
may
now
apply
the
knowledge you gained to the next activity which is important in the performance of any dance.
PART IV: WHAT TO TRANSFER
Activity 6- DANCE INTO THE GROOVE! With the same grouping that you had in Activity 4, Let’s Get Loud, perform again the rhythmic combinations that you composed while doing the following: 1. Based on videos you saw earlier in the Pre-assessment Activity and Activity 1, create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created. 2. Always observe the elements of space and movement while doing the routine. 3. Perform the whole routine of dance and sound improvisations with proper expressions and gestures.
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Did you enjoy the activity? You must be sweating out now. Perspiring while doing the activity is a good indication of good health because your heart beats faster as it pumps harder while dancing. You know pretty well that dancing is a good exercise, thus, you are keeping your heart healthy.
Since you have already started doing some movements, it’s now time for you to test your own dancing skills by doing the next activity. Enjoy and have fun while mastering the rudiments!
LESSON III
Basic Steps in Folk Dancing In this lesson, you will be made familiar with the basic steps and arm movements of the dances: “Binislakan, Sakuting, Sua-Ku-Sua, Pangalay and Tiklos”. This will give you a clear understanding of the nature of these folk dances. If you study the literatures of these dances found at the end of this module, you will notice distinct steps and movements that are inherent in each dance. The following dance terms and dance steps are basically used in Binislakan, Sakuting, Sua-Ku-Sua, Pangalay and Tiklos. You are to master all these dance steps which will be used later in your performance test. Study them carefully and demonstrate the dance steps with the help of your teacher. Padyak
-
Saludo Arms in Lateral Position
-
Set Bend axis Leap
-
to stamp or tap with one foot and the weight of the body is on the other foot it means to bow both arms are in one side at shoulder level, either right or left a dance formation of two or more couples to move the body or part of the body around wide
-
to spring one foot and land on the other foot
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Study and analyze the following table. The information given will be needed in your dance performance. Stay focus!
2/4, 3/4 or 4/4
No. of counts or M per step 1M 1 ct. 1, 2 or 3 cts. 1 ct. as many as required as many as required
2/4,
2M or 4M
Touch Step Change Step
2/4 or 3/4 2/4 or 3/4
1, 2 or 3 cts. 1M
Waltz turn
2/4 or 3/4
2M
Waltz step
2/4 or 3/4
2M
Stamping
2/4 or 3/4
1M
Dance Step Slide (glide) Skip Bleking Gallop Mincing Parallel Tortillier Pivot Turn
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Music Used 2/4 or 3/4 2/4 or 6/8 2/4 or 3/4 2/4 or 6/8 2/4 or 3/4
Step Pattern slide, close step and hop heel-place, close step and cut step, step, step and so on pivot and turn heels, pivot and turn toes Step, ball and turn, step, ball and turn and so on. Touch , close Step close Step Execute 2 waltz steps to make a turn Step R; step L close to R in rear; step R Stamp(R) (L) and close to supporting foot(L) (R)
Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step.
M = Measure F = Forward B = Backward R = Right L = Left
PART I: WHAT TO KNOW
Activity 7: Tell Me!
In this part, you will be given basic steps, arm and bodily movements that are used in Binislakan, Sua-Ku-Sua, Sakuting, Pangalay and Tiklos. Identify what is being defined. 1. Both arms are in one side at shoulder level, either right or left. 2. To stamp or tap with one foot and the weight of the body is on the other foot. 3. To spring one foot and land on the other foot. 4. To move the body or part of the body around wide axis. 5. A dance formation of two or more couples.
Congratulations for having gone this far! Reaching this part is a clear indication of your willingness to learn more. Now, maximize your potential by memorizing and performing with mastery the basic steps of the regional and national dances.
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PART II : WHAT TO PROCESS
Activity 8: DANCE WITH ME!
In this part, you will be given practical applications of the basic steps, arm and bodily movements used in Binislakan, Sakuting, Tiklos, Sua-Ku-Sua and Pangalay. Read the instructions and make sure to follow them correctly.
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Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan, Sakuting, Sua-Ku-Sua, Tiklos and Pangalay. Out of the dance steps you learned, create dance-step combinations. The following rubric will be used to evaluate your performance.
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE IN FOLK DANCE Weight
Choreography and Artistic Presentation
Execution and Mastery of Steps
40%
30%
Characterization and Behavior During Performance 30%
OUTSTANDING: Performs steps with high level of mastery while creating several formations in the dance floor
SKILLFUL: Demonstrates precise and skillful execution of the steps with high level of confidence
SOPHISTICATED: Demonstrates sophisticated characterization and appropriate behavior towards the dance and groupmates
DYNAMIC: Performs steps with mastery while creating sufficient formations in the dance floor
COMPETENT: Demonstrates the steps competently and with confidence
EXPRESSIVE: Demonstrates an atypical level of characterization and appropriate behavior towards the dance and groupmates
CREATIVE: Performs steps with mastery but with limited yet growing ability to execute them while creating formations in the dance floor
PRACTITIONER: Demonstrates general level of coordination and competence in the execution of steps with limited but growing confidence
REALISTIC: Demonstrates generally acceptable characterization and proper behavior towards the dance and groupmates
2
FAIR: Performs steps with general mastery but could hardly adapt to varying formations in the dance floor
APPRENTICE: Demonstrates limited coordination and competence in the execution of steps with low level of confidence
IMPROVING: Displays inconsistent characterization and demonstrates generally acceptable behavior towards the dance and groupmates
1
STATIC: Performs steps with low or no mastery and is not capable of creating formations in the dance floor
NOVICE: Has very low or no coordination in demonstrating steps; has very low level or no confidence at all
MECHANICAL: Has little or no characterization and behaves inappropriately towards the dance and groupmates
5
4
3
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In your performance, what grade did you receive? Are you satisfied with it? If your grade is low, would you want to improve your performance if given
another
chance
by
your
teacher? If you got a high grade in your performance, wouldn’t you want to share your expertise to your fellow classmates who are still novice? What do you think? The next activity will allow you and your classmates to do peer-teaching. In here, your teacher will divide your class into two which will allow advanced learners to enrich their mastery and the novice Partto III remediate : WHAT TO REFLECT ANDby UNDERSTAND group their weaknesses having learning in a partner or buddy system. Which group do you belong?
Activity 9: No Man Is An Island!
This activity aims to enrich your mastery skills in performing the dance steps correctly while building cooperation and goodwill with your classmates. 1. Group yourselves into two. Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance. 2. Those in group B should choose a partner in group A. 3. Your teacher will provide a list of step patterns with a minimal set of combinations and directions for you to execute. 4. Help each other in interpreting correctly the step patterns provided. 5. Your teacher will supervise you as he/she guides you in doing the activity. 6. After the given time alloted by your teacher, a performance assessment will be given. 7. Try to provide feedback on the performance of the other groups. 208
How did you feel while doing the activity? If you belong to Group A, what did you feel while teaching your classmates? Does it make you proud having done so? If you belong to Group B, how did you feel while you were being taught by your classmate? Were you a bit embarrassed or intimidated?
In life, we need one another. We need to cooperate and help those who are in dire need. Along the way, we also need to seek guidance from people who are knowledgeable on certain issues. Life should be based on a give - take - process. That way, we can create harmonious working relationship in our community. This principle is also applied in the teaching – learning - process of a dance performance.
To measure how effective this activity is, you will now demonstrate more cooperation and harmony by showing better performance through the next activity. Let’s see if you have improved.
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PART IV : WHAT TO TRANSFER
Activity 10: Watch Me!
This activity will help you check your knowledge of the basic rhythm and step patterns of folk dances. The leaders of the four groups shall draw lots and perform what is written on the drawn sheet of paper.
1. 2. 3. 4.
Perform the dance steps correctly in figures 1 – 3 of Binislakan. (Group A) Execute the dance steps correctly in figures 4-6 of Binislakan. (Group B) Perform the whole dance properly with music accompaniment. (Group C) Make a prelude of the dance Binislakan by presenting a typical scenario of what is commonly seen in a barrio. Storyline should be related to the theme or cultural background of the dance itself.
Note to the Learner: (Your teacher may select any of the five dances which will be used in the performance.)
How was your dance performance? Do you honestly believe that you performed a lot better this time? May Take note that performing does not only mean dancing gracefully. Proper expressions of the face and body gestures are also important to show the emotions needed in a particular dance. The next activity will teach you the significance of gestures and hand movements in finding the meaning of a certain dance.
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LESSON IV
In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given. Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance. Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts, joy, or sorrow of the one performing. You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later.
In this part, you will be provided with motivating activities that will establish your own understanding of the topic and will lead you to answer queries relative to the performance of regional and national folk dances with Asian influence.
Part I : WHAT TO KNOW
Activity 11- GRAND TABLEAU This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances. The following instructions will be facilitated by your teacher. 211
1. Your classmates and you will be grouped into five. 2. The leaders of the five groups will be asked to draw lots. Each piece of paper describes one particular scene to be portrayed by the group. For one minute, you and your groupmates will conceptualize a typical scenario given these situations: a. Fishermen pulling up their fishnet from the sea b. Farmers harvesting bountiful grains c. Fiesta celebration of your town d. Wedding ceremony e. A man courting a lady 3. After conceptualization, another 10 seconds will be given for your group to act out the scenes that you have planned, exhibiting the proper facial expressions and hand or bodily gestures. 4. After the activity, your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance, music, theater and other performing arts.
Part II : WHAT TO PROCESS
Did you have fun doing the activity? I guess so. Now, you are tasked to apply these learned skills into the next activity. Applying emotions and gestures to the step patterns that you’ve learned will be more exciting. Good luck! Have fun
Activity 12- IT’S SHOWTIME! This activity aims to amplify your learned skills in expressing proper emotions in specific situations which are needed in any performance. 212
1. With the same grouping, you and your groupmates will be asked to develop a story using the theme you have drawn earlier and perform it through movements. Expressing the right emotions needed in the given situations should be observed. Two to three minutes will be allotted for each group performance. 2. Bear in mind that while one group is performing, the other groups will be instructed to note their observations. 3. An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question, “Which group do you think performed best?” Why do you say so?
Part III : WHAT TO REFLECT AND UNDERSTAND
Self- Check: Put a checkmark on the appropriate line. To what extent did you learn the dance in terms of: 1. cultural heritage? ___________to a great extent ___________to a moderate extent ___________to a lesser extent 2. cultural values? ____________to a great extent ____________to a moderate extent ____________to a lesser extent 3. movements? ____________to a great extent ____________to a moderate extent ____________to a lesser extent 4. cultural appreciation? ____________to a great extent ____________to a moderate extent ____________to a lesser extent
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Reflection How is life connected to dancing? Can you explain this?
In life, we always aim to be successful. One way to attain our goals is for us to stay focused just like the focus that is needed while learning the steps in dancing. We need to put our heart and mind into the things we do to in order to gain mastery. Through dancing, we may be able to develop health fitness, such as having cardio-vascular endurance, flexibility and strength which are key factors in achieving success.
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION!
Answer the following questions.
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What is the importance of proper expressions in folk dancing? How are the movements shown in Binislakan, Tiklos, Sakuting, SuaKu-Sua and Pangalay reflect the kind of life people have on those places? Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao.
Congratulations! You’re smart to be in this level. Check the next activity. Try as much as you can to study and analyze the stepprocedures of the dance literature. This part requires patience and understanding for you to interpret perfectly the dance. Have patience Good luck!
LESSON 5
Interpret dance literature of Binislakan, Tiklos, Sua-ku- Sua, Pangalay and Sakuting It is very enriching to be able to interpret a dance literature. Since folk dances are documented, it is always an edge to correctly interpret the text of a dance literature. Herewith are the dance figures of the four dances. It is hoped that through these dances, your ability to interpret dance literatures will lead for you to appreciate other folk dances. Note to the learner: One dance should only be taught by your teacher for the fourth quarter. However if there is still time for you to lear one more dance or all of the five dances, then that will be a lot better.
BINISLAKAN (Lingayen) INTRODUCTION Music Introduction Partners face audience. (a) Cross sticks overhead; R-hand stick over L-hand stick and look upward........................................................................................3M (b) Bend trunk forward and bring down point of crossed sticks 215
close to floor......................................................................................1M I Music A. Face audience. (a) Starting with R foot, take four change steps sideward right and left alternately, raising alternately the L foot and R foot slightly above the floor;bend trunk sideward right and left alternately. Strike sticks sideward right and left alternately, three times to a measure, R,L,R,L,R,L (cts. 1 and 2) to every measure.....................................................................4M (b) Execute mincing steps sideward right. Strike sticks overhead four times to a Measure, R,L,R,L,R,L alternately. Look upward.......................................................................................2M (c) Bend knees and twist trunk to left; strike sticks backward R,L,R(cts.1 and 2); look backward right..............................................1M (d) Straighten trunk and stamp foot R,L,R (cts. 1 and 2). Strike sticks R, L, R In front of chest.............................................................1M (e) Starting with L foot, repeat (a-d) to opposite direction, stamp feet L,R,L...........................................................................................8M
II Music B. Face audience. (a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times, step on R foot with springy movementsLike small leap; bend trunk slightly sideward right; R hand bend in frontin level with head, stick pointing toward audience; L hand down in rear, stick pointing sideward left; look at left shoulder (cts. 1,2,1,2)........................................................................................2M (b) Tap L foot in front two times; bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts. 1,and); straighten trunk and step L close to R foot, strike sticks once in front........................................................................1M (c) Repeat (b) with R foot, bend trunk toward R foot.........................1M (d) Repeat (a-c), in reverse direction and position.............................4M (e) Face partner and repeat (a-d).......................................................8M
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III Music A. Face audience. (a) Jump forward and bend trunk forward. Cross sticks R stick over L stick Below knee level...............................................1M (b) Straighten trunk and raise gradually the sticks overhead; sticks are still crossed. Look upward.............................................1M (c) Repeat (a) and (b).........................................................................2M (d) Execute mincing steps going backward; arms are in reverse “T” position And shiver sticks sideward. Bend head sideward right and left every two counts......................................2M (e) Execute mincing steps turning right about, finish facing away from audience (1M). Raise R knee and strike sticks once under it (ct.1), straighten knee feet together and strike sticks once in front (ct.and), raise L knee and strike sticks once under it (ct.2).........................................................................2M (f) Repeat (a-d), facing away from audience......................................6M (g) Repeat (e); finish facing audience.................................................2M
IV Music B. Partners face each other. Boy and Girl do their movements simultaneously. Girl’s Movements: (a) Starting with R foot, execute eight change steps going clockwise around Boy. Strike sticks overhead and at the back alternatelythree times toa measure. Strike sticks at the back. Kneel on both knees on the last count.........................................8M (b) Do the movements of Boy below (a-c). Finish facing audience........................................................................................8M Boy’s Movements: (a) Kneel on both knees and strike sticks on the floor at the right side three times (cts. 1, and 2); strike sticks overhead three times upward (1M); strike sticks at the left side on the floor three times (1M); strike sticks overhead three times (1M.................................................................................................4M (b) Repeat (a); stand at the last count.................................................4M (c) Repeat movement of Girl (a). Finish facing audience....................8M
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V Music A. Partners face audience. (a) Take one change step sideward right (cts. 1,2), raise L foot above the floorin (ct.2), bend trunk sideward right and strike sticks to sideward right threetimes to a measure R,L,R.............................................................................................1M (b) Repeat (a) three times more, to ideward left and sideward right alternately. Raise R foot above the floor when doing the change step to sideward left and strike sticks L,R,L..............3M (c) Face partner and strike sticks on floor in front, full knee bending R knee lower than L knee (cts. 1,ah,and,2,and)............1M (d) Stand, straighten trunk, and strike sticks, R,L,R,L in front (cts. As in (c) )...............................................................................1M (e) Step R foot forward (ct.1) hop on R foot, raise L foot slightly close to R foot, strike both sticks diagonally right head level, with partner (ct.and). step L foot sideward (ct.2), hop on L foot, and strike sticks diagonally left with partner (ct.and).............1M (f) Stamp feet R,L,R, strike sticks in front R,L,R (cts.1, and 2)..........1M (g) Repeat (a) and (b), facing audience..............................................4M (h) Repeat (c) and (f), facing audience...............................................4M
VI Music B. (a) Starting with R foot, execute two change steps going forward to meet partner at center finish in one line. Girl in front of Boy,facing audience. Strike sticks three times R,L R overhead (look upward) (cts. 1,and 2).......................................2M (b) Starting with R foot, execute six change steps right and left alternately,Going around clockwise. Strike sticks as in (a). Finish in a circle facing center.................................................6M (c) Starting with R foot, take four change steps going toward center.Strike sticks as in (b)...........................................................4M (d) Repeat (c), going backward; finish facing right..............................4M
Saludo Music Finale. 218
(a) Execute mincing steps going counter clockwise; finish in line formationfacing audience as in Figure I. Arms in reverse “T” position and shake sticks sideward; bend head sideward right and left alternately every two counts............................................................................................3M (b) Stamp feet R,L,R and strike sticks overhead R,L,R (cts.1 ,and 2). Look upward...........................................................................................1M (c) Mincing steps, turning right slowly; finish facing audience; sticks are still crossed overhead and looking upward..................3M (d) Feet together, bend trunk slowly forward, bringing down the crossed sticks below knee. Sticks touch floor in the last count..............................................................................................1M
SUA-KU-SUA Introduction Music introduction Pause Music A. Partners face audience. Throughout this figure, the knees are slightly bent and turned outward. Arms extended sideward with a fan in each hand. (a) Take 32 walking steps forward turning the hand from the wrist down and up alternately on every count (figure of eight). Bend the head sideward rightand left alternately in time with the hand movement................................................................ 8M
II Music B Partners face audience. (a) Place R heel forward, arms sideward (cts.1,2), take six steps in place, move hands as in Figure I (cts. 3, 4; 1 2, 3,4).......................................................................................... 2M (b) Place R heel forward two times (cts. 1, 2, 3, 4).............................1M (c) Take four steps turning right about in place, arms and hand movements as in (a).............................................................1M (d) Repeat all (a-c). Finish the turn facing partner..............................4M Music C Partners face each other. (a) With arms in fourth position, L arm high, step R forward 219
and raise L foot in rear, turning the hands down (ct.1), step L in place, turning hands up(ct.2), step R backward and raise L foot forward, moving R arm to 2nd position and turning hands down (ct.3), step L foot in place turning hands up (ct.4).............................................................................1M (b) Take four walking steps forward to be in line with partner by R shoulders, arms and hand movements as in Figure I .(cts. 1, 2, 3, 4)..............................................................................1M (c) Repeat (a) and (b). Finish in partner’s place............................... 2M (d) Turn left about and repeat (a-c). Finish in proper places (Partners are by L shoulders in (b)...............................................4M IV Music A Partners face each other Arm Position :
Arm Movement
:
Place both arms in front at waist level. Wrist of R hand is up, finger tips pointing downward, while the L hand in reverse position. R hand is in front of L. With wrist leading, raise R hand up and pull L hand down, palms in (ct. 1), flip hands to reverse position and movement (ct.2). Repeat same (ct.2)
(a) Step R across L in front (ct.1), step L sideward (ct.2). Repeat same (cts. 3, 4).................................................................1M (b) Repeat (a) three times more moving in a circle clockwise, always facing partner. Boy finishes facing audience while Girl finishes behind the Boy..................................3M (c) Girl: repeat (a) and (b) moving clockwise while facing the line of direction Boy: repeat (a) and (b) in place......................4M V Music C Partners face each other. (a) Take three walking steps obliquely forward left (cts. 1,2,3), turn right about pivoting on the ball of R foot and raising L foot across the R knee in rear (ct.4). From 2nd position, move the arms downward-forward (as if scooping). Finish with the palms up (cts. 1,2), turn both hands toward chest inward. Continue the turn and end up with arms forward palms facing front, finger tips in (ct.3), pull hands outward away from each other (ct.4)...............................................................................................1M (b) Repeat (a) starting with the L foot turning left about......................1M (c) Repeat (a) and (b) two times more................................................4M (d) Boy: take seven walking steps obliquely forward left, arms and hands as in Figure I (cts. 1,2,3,4; 1,2,3), 220
point L foot sideward (ct.4). Girl: take four steps turning right about in place (cts. 1 2,3,4) and three steps in place (cts. 1,2,3), point L foot sideward (ct.4). Hand movement is the same as that of Boy........2M NOTE: Partners are now in one line facing front, Girl at partner’s right side.
VI Music A. (a) Step L across R in front (ct.1), step R sideward (ct.2), arm and hand movement as in Figure I. Repeat same two times more (cts.3,4; 1,2), step L sideward (ct.3), point R foot sideward (ct.4)...........................................................2M (b) Repeat (a) starting with the R foot moving to the opposite direction.........................................................................2M (c) Repeat (a) and (b). Close feet together on the last count.............4M VII Music B. Girl turns left about so that R shoulder is toward partner. Extend R arms sideward, hand of Girl on top of boy’s hand, L arms are raised overhead. (a) Starting with the R foot, take sixteen walking steps forward moving half-way clockwise. Finish in partner’s place..............................................................................................4M (b) Turn about and repeat (a) moving counter clockwis with the Boy following the Girl. Reverse position of hands. Finish in proper places..................................................................4M VIII Music B Partners face each other. (a) Step R forward and move arms to 2nd position (ct.1), raise L foot close to the R knee. Raise arms overhead and flip hands down (ct.2), cross turn right about in place. R arm up. Shake L hand obliquely sidewarddownward (cts. 3,4; 1,2,3,4).........................................................2M (b) Repeat (a) with the L foot. Reverse position of arms...................2M (c) Repeat (a) and (b)........................................................................4M IX Partners face each other. (a) Take four walking steps to Girl’s place. Hands as in Figure VII (d)................................................................................1M (b) Place R heel forward. Bend trunk forward and place R and L cheek close to that of partner alternately four 221
times (cts. 1,2,3,4). Fans are held close to waist........................1M
(c) Take four walking steps to the center...........................................1M (d) Repeat (b).....................................................................................1M (e) With fans held sideward-downward, palms down, stamp R foot five times in place(cts. 1, and 2, and 3). Flip fans and strike the thighs with the fans (ct.and), Raise arm sideward, palm down (ct. 4).........................................1M (f) Take four steps turning right in place, arms obliquely sideward-downward.......................................................................1M (g) Repeat (e) and (f)..........................................................................2M (h) Take eight steps turning right. Finish facing front..........................2M
X Music B (a) Starting with the R foot, take four walking steps forward to meet partner at center, arms as in Figure I.........................................................1M (b) Place R heel forward. Girl leans back with hands close to hips, palms facing front. Move head sideward left and right alternately four times. Boy taps R and L shoulder of the Girl with the fan held by the R hand alternately four times (as if chopping) (cts. 1,2,3,4)..............1M (c) Take four walking steps to Boy’s place. Boy moves backward while Girl moves forward. Arms as in (d)......................1M (d) Repeat (c). This time the Girl does the choppy movement and the Boy, the head movement................................1M (e) Take four walking steps to center. Boy moves forward while the Girl moves backward.........................................1M (f) Repeat (e)......................................................................................1M (g) Stamp R foot five times in place (cts. 1, and 2, and 3), raise R foot and hit the thighs with both fans (ct.and), flip fans outward (ct.4)............................................1M (h) Three-step turn right in place (cts.1,2,3), close feet together (ct.4). arms down at sides, tips of fans facing sideward-outward........................................................1M (i) Repeat (g) and (f)..........................................................................2M (j) Starting with the R foot, take four walking steps (Boy moving forward, Girl moving backward). Arms in reverse “T” position, fans facing front (cts 1,2,3,4). Sway fans in a figure of eight for every count................1M (k) Boy bends trunk forward while Girl leans backward. Move the heads (Boy to right side, Girl to left side) (ct.1), reverse the direction (ct.2), repeat the same (cts.3,4)..........................................................................................1M 222
(l) Repeat (j) and (k)...........................................................................2M (m)Take four steps to face front, arms as in (f)...................................1M (n) Two steps to turn right in place and pause....................................1M
FINALE (a) Step L sideward (cts. 1,2), step R across L in front, knees are slightly bent (cts. 3,4). Twist trunk to the right, R arm obliquely downward-sideward, L arm obliquely forward-upward shaking fans (cts. 1,2,3,4)..........................................................................................2M Dancers sing as they perform the dance. The natives often repeat the dance as many times as they like or until they are made to stop. The song goes this way:
Music A.
Sua-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 Bang ma-ka tum-tum panon Ah atay ko mag ka gomon Ah atay ko mag ka gomon
Music C.
Kan ka pilaran, cambia sara-ran Di ka dua han, di ka imanan Ah magpe-pin-tas, ha-la-man Ah magpe-pin-tas, da koman
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 pretty one I cannot change, Walking hurriedly along the street Hand in hand with me-I 223
To that lovely beauty I lost my heart.
Source of Lyrics:
Philippine National Dances Mrs. Francisca Reyes Tolentino Literal Translation of the Song by Lt. Alpad Arasad Source of Lyrics: Philippine National Dances Mrs. Francisca Reyes Tolentino Literal Translation of the Song by Lt. Alpad Arasad
PANGALAY Philippine Folk Dances Francisca Reyes Aquino Entrance Starting with R foot, walk to center of the room. Both arms down at sides palms down fingers together and pointed outward. Take 1 count for each step. 4M or 8M I Face audience (a) Slide R foot forward with only toes touching the floor (ct. 1), put weight on same foot at the end of the slide (ct.2). Knees are slightly bent and turned outward. R hand in front at eye level, L hand down in rear, fingers together and hyper-extended. Turn R hand (from wrist) counterclockwise and turn L hand (from wrist) clockwise simultaneously. ……………..……….…….…. 1 M (b) Repeat (a), seven more times, L and R foot alternately. Do the same hand movements, L and R alternately in front. ..…………… 7 M (c) Repeat (a) and (b), moving backward to starting place. ..….……… 8M II R shoulders towards audience. (a) Repeat slide step foot movement as in figure I, R, and L alternately, eight times, moving clockwise. Arms in lateral position, turning hands as in figure I, right and left Sideward alternately every two counts……………………….……….. 8M (b) Turn right about, repeat (a), moving backward to starting place. ……………………………….…………………….…….. 8M
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III Face audience. (a) Repeat slide-step movement as in figure I going obliquely forward right, R and L alternately, eight times. Start with arms down at sides, palms facing front, finger tips pointing downward, raise arms gradually upward to head level (4cts.), turn wrist outward so that finger tips point upward, palms facing front, lower arms gradually downward to starting position (4cts.) Reverse position of arms every four counts. …………………………….……… 8M (b) Turn right about. Repeat (a), going to starting place. ……..…………. 8M (c) Repeat (a) and (b), going obliquely forward left in (a) …….…..…….. 8M
IV Face audience. (a) Starting with R foot, take eight steps turning right (clockwise) in place (1 ct. for each step). Arms bent forward at shoulder level, four fingers together and hyper-extended, thumbs sticking up. Execute a figure of eight movement with the hands every two counts, gradually stretching the arms sideward at shoulder level. ……………………….……………... 4M (b) Repeat (a), turning counterclockwise. Repeat same hand movement gradually bending elbows to forward bent position. ……………………………………………………….…… 4M
V Face audience (a) Bend toes or R foot and slide forward the bent toes (ct.1), at the end of the slide straighten toes and put weight on same foot (ct.2). Raise hands in front at the eye level, R hand on top with palm facing the front, fingers together; L hand down, palm facing in (self)for two counts. …….……………… 1M (b) Repeat (a), turning counterclockwise. Reverse position of the hands every two counts, L and R hand on top alternately, with palms facing self (when hand is down), and palms facing front (when hand is on top). The hand that goes down passes in front. ……..………………………..……...………………….. 7M (c) Turn right about, repeat (a), going to starting place. …..…..……….. 8M
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VI R shoulder towards audience. (a) Execute eight parallel tortillier steps sideward right. Start with toes pointing sideward first, taking one count for each movement. Arms in lateral position sideward right, palms facing out, finger tips pointing upward (ct.1), flex wrist upward so that finger tips point downward (ct.2).Reverse position of the finger tips every count (or every two counts if desired). ……………………………………………………..…….……. 4M (b) Repeat (a), moving sideward left. Arms in lateral position, sideward left, doing same movements as in (a). ………..…………... 4M (c) Face audience. Repeat (a) and (b). ………………....……………….. 8M
VII R shoulder toward audience. (a) With knees slightly bent, execute shuffling steps forward, moving clockwise (counting 1, and 2, and for every measure). Bend arms upward, elbows close to waist, hands about two inches over shoulders, palms down. Move fingers (except thumbs) up and down alternately every count. …………….……...…….…..… 8M (b) Turn right about, repeat (a), moving counterclockwise..…….……… 8M
Saludo Face audience. Place right foot in front, bend body slightly forward, head bent forward, cross hands at wrists down in front, R hand over L, palms down. ……..……….. 2M
Tiklos Philippine Folk Dances Francisca Reyes Aquino I Music A. Partners face front. Throughout this figure Girl holds her skirt, Boy places hands on waist. (a) Starting with R foot, take two heel and toe change step forward. ……..4M (b) Execute change step sideward, R and L. ……………………………..….2M (c) Starting with R foot, take four steps backward to proper places……......4M 226
(d) Repeat
all
(a-d)..…………………….......…………………….……….8M
II Music B Partners face front. The same hand position as in figure I. (a) Cut L backward (ct.1), cut R forward (ct.2). Repeat all (cts. 1,2) …….....2M (b) Take three gallop steps sideward right (cts.1, ah, 2, ah, 1, ah) step right foot sideward(ct. 2) …………………………………………....….2M (c) Repeat (a), starting with R cut backward. …………………………….…...2M (d) Repeat (b), going sideward left. ……………………………….….…..……2M (e) Repeat all (a-d). ………………………………………………………………8M
III Music A Partners face each other. Throughout this figure clap hands in front of chest in this manner: Clap three times (cts. 1, and 2,), clap twice (cts. 1, 2). Do this for 16 measures. (a) Execute change step sideward, starting with R foot (cts. 1, and, 2) hop on R and raise LKnee in front swinging L foot obliquely right backward across R knee in froint (ct.1), hop on R and swing L foot obliquely left forward (ct.2). ………………………….………2M (b) Repeat (a) starting with the L foot. …………………..………………..……2M (c) Execute a three step-turn right in place (cts. 1, and 2). Point L in front (ct. 1), point the same foot close to R (ct. 2). ………………………..2M (d) Repeat (c), starting with L foot and turning left. ………………………......2M (e) Repeat all (a-d). ………………………………………………..……….…….8M
IV Music B Partners face each other. The same position of hands as in figure 1. (a) Take two touch step in front (R , L). …………………………….………….2M (b) Jump to cross R in front of L (ct.1), jump to cross l in front of R (ct. 2), jump to cross Rin front of L (ct.1) jump to close R to L (ct.2). ...………………………………………………………….2M (c) Repeat (a) and (b), starting with L foot. ……………………..………...…...4M (d) Repeat all (a-c). ………………………………….........………...……..…….8M
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SAKUTING Philippine Folk Dances Francisca Reyes Aquino
Entrance a. Partners walk side by side in rhythm with the music with Head Pair leading the group into formation. Finish facing partner. R arm bent in front holding stick upward; L hand holding stick placed behind the waist. ……………………………………………………... 16M
FIGURE I Music A. Partners face each other. a. Head Pair: Face the set. Weave in and out of the set and continue until back to original places. Strike sticks R over L on ct. 1; L over R on ct. and; R over L on ct. 2. Strike starting L over on next measure. Pairs 2, 3 and 4 : perform 32 cut-step-step in place alternately starting with L…………………….…. 32M
FIGURE II Music B. Partners face each other. a. Bend downward. Strike sticks 3x R and L, L over R, R over L. ………..2M Straighten trunk. Strike sticks in front and waist level 3x L over R, R over L and Lover R. b. Waltz step R . Waltz L . Strike sticks 3x to a measure. ………….. 2M c. Leap R placing L heel in front (ct. 1) to be by L shoulders with partner; hold position (cts. 2, 3). Strike L sticks with Partner (ct. 1); strike own sticks 2x (cts. 2, 3). …………………………. 1M d. Leap on L and place R heel in front (ct. 1) to be in back to back position with partner; hold position (cts. 2, 3). Strike R sticks with partner (ct. 1); strike own sticks 2x (cts. 2, 3). .. 1M e. Step R and place L in front (ct. 1) to be by L shoulders with partner (ct. 1); hold position (cts. 2, 3) Strike L sticks with partner (ct. 1); strike own sticks 2x (cts. 2, 3). …….…………………..1M f. Waltz step to proper places. Strike own sticks R over L, L over R, R over L. …………………………………………………………….. 1M g. Repeat (a) to (f) starting L and standing by L shoulders. 228
Start all strikes of sticks with L over R. ……………..………………….…….. 8M h. Repeat all (a-g).. ……………………………………………..……………...….16M
FIGURE III Music C. Partners face each other.
a. 2 waltz steps R, L moving diagonally forward. Finish in one line with partner by L to L shoulders. Strike sticks 3x to a measure. ………………………………………..…………….…2M b. Raise R leg in front (ct. 1); lower leg (cts. 2, 3) Strike own sticks under raised leg (ct.1); strike sticks R over L and L over R (cts. 2, 3).….…………………………………………….……..1M c. Face partner. Strike R sticks with partner (ct. 1); strike own sticks R over L and L over R (ct. 2, 3) ……………………………….…...1M d. Raise L leg in front (ct. 1); lower leg (cts. 2, 3). Strike own sticks under (ct. 1); strike sticks R over L and L over R (cts. 2, 3). ………………………………………….……….…….1M e. Face partner. Strike R sticks with partner (ct. 1); strike own sticks L over R and R over L (ct. 2, 3) ……………………………….…...1M f. 2 waltz steps to proper places. Strike sticks 3x to a measure. …………………………………………………………………………. 2M g. Repeat (a-f) starting L and standing by R to R shoulders with partner. …………………………………………………………. 8M h. Repeat all (a-g). ……………….……………………………..…………………16M
FIGURE IV Music D. Partners face each other. a. Repeat (a) of FIGURE I. Finish by moving 2 small steps to get close to partner at center on last 2 cts. Of M. …………………………. …………………...……………….2M b. Waltz step R . Hold sticks parallel to each other; swing own sticks together from R side and strike both sticks with partner (ct.1); strike own sticks R 229
c.
d.
e. f. g.
h.
over L and L over R (cts. 2, 3). ………………………………………………… 1M Waltz step L . Swing own sticks from the L side and strike partner’s sticks together (ct. 1); strike own sticks 2x (cts. 2, 3). …………………………………………………………1M With a spring, step R placing the L heel in front to be in one line with partner at center by L shoulders; trunk erect (cts. 2, 3). Open arms at the sides without strining sticks (ct. 1); strike own sticks 2x with trunk erect (cts. 2, 3). ……………………………………..……..1M Repet (d) of FIGURE II. …………………………………………………… …. 2M Repeat (d) of this FIGURE stepping R . ……………………………………. 1M Repeat (f) of FIGURE II starting with L and standing R shoulders. ………………………………………………………………...…...8M Repeat all (a-g). …………………………………………………....……..…….16M
FIGURE V Music E. Partners face each other. a. Repeat (a) of FIGURE III. ………………………………………………………….. 2M b. Waltz turn R (2M) moving obliquely forward; finish facing each other in a single line at center. Strike sticks together 3x to a measure. ……………………………… ………….. 2M c. Stand . . Strike R stick once with partner (ct. 1); strike own sticks together 2x (cts. 2, 3). …………………………………………. . 1M d. 2 waltz steps to partner’s place; finish facing each other. Strike sticks together 3x to a measure. …………………………….. 2M e. Repeat (a) to (d) and finish in proper places. Strike L sticks together with partner. …………………………………………………….. 8M f. Repeat all (a-c). ……………………………………………………………………..16M
230
FIGURE VI Music F. New formation X X X X
Audience 1 2 3 4
O O O O
6” One set of dancers Pairs 1 and 2 form a square; Pair 3 and 4 do the same. All face the center of each square. Simultaneous movements of Girls and Boys. Girls: a. 2 change steps to center and finish by R shoulders. Strike own sticks together 3x to a measure; R over L, L over R, R over L. .......................................................................................... 2M b. 2 change steps R, L in place. Strike sticks together with opposite (ct.1); strike own sticks 2x (cts. and, 2). .................................... 2M Repeat movement. c. Turn R about to be by L shoulders; repeat (b). ............................................... 2M Boys: 8 change steps R, L alternately . . .......................................................... 8M . d. Girls perform Boy’s Part while Boys perform Girls part. .................................. 8M e. New Formtion: Boy 1 to Face Girl 2 X 1 O Boy 3 to Face Girl 4 X 2 O Boy 2 to Face Girl 1 X 3 O Boy 4 to Face Girl 3 X 4 O All repeat (a) to (d). .......................................................................................... 8M f. All Face partners and repeat (a-d) with partnerts. ........................................... 8M
FIGURE VII 231
Music G. Partners face each other. All stand in place. a. Bend trunk down. Strike own stick 3x to a measure on floor or close to the ground. ……………….…………………………………. 1M b. Straighten trunk. Strike sticks in front at waist level. ……………………………1M c. Raise sticks overhead. Strike sticks overhead. ………………………………… 1M d. Place hands behind waist. Strike sticks from behind………………………….. 1M e. Repeat (a-d) 3x more. ………………………………………………………..…….12M f. Face about, away from partner and repeat all (a-e). ……………………………16M
FIGURE VIII Music H. Circle formation facing clockwise. a. 16 waltz steps Strike own sticks 3x to a measure. …………………………….. 16M b. Turn R about to face and repeat (a) to finish in a double circle formation with Boys inside and Girl partners outside. ………………………………………………………… 16M
FIGURE VIII Music H. Double circle formation with Boys and Girls outside. Girls hold their 2 sticks horizontally and parallel to each other; R stick at head level and L stick at chest level. a. Boys face their partners while Girls hold their stick firmly in front. Boy- strike sticks across Girl’s sticks R hand up and L hand low 3x to a measure (cts. 1, and, 2). ………………………………………………………………………. 1M b. Girl – 3 step turn R still holding sticks as in (a). …………………………… . 1M . Boy 3 step turn R moving to face the next Girl at his right. c. Repeat (a). …………………………………………………………………………… 1M 232
d. Repeat (b). …………………………………………………………………………… 1M e. Repeat movements (a) and (b); partners meet each other; exit. ………..…….12M .
Were you able to understand the dance literature? Can you interpret each stepprocedure
correctly?
If
so,
congratulations! Just in case you have difficulty
interpreting
the
dance
literature, please feel free to ask your teacher for clarification before going to the next activity. Now, let us check your understanding about the dance literature that you have just studied. Let us see if you can apply the knowledge you learned through the next activity.
Part II- WHAT TO PROCESS Activity 14-Fill-Me-In
This activity aims to assess your mastery of the basic steps in folk dancing, its step pattern and counting. Complete the following table by filling in the correct step pattern and counting of the given basic steps: Basic Step 233
Step Pattern
Number of Counts in a Measure
Heel and toe polka
Place heel, touch toe, step, close, step
Change Step Touch Step Mincing Sua-Sua Step Waltz turn Cut-step-step Gallop Step
1, 2, 3 1,2,3
Slide-cut-hop Step (R),Point (L) -
1,2.3 1, 2 Execute 2 waltz steps to make a turn Cut (displace)L with R foot 1, 2
Did you get a perfect score? If so,
well
done!
You
may
now
proceed to the next part which will surely keep you engaged to a more exciting activity. Goodluck!
Part III- WHAT TO REFLECT AND UNDERSTAND
Activity 15: OPEN-ENDED STATEMENTS This activity aims to assess your mastery of the essential understanding by completing these unfinished statements. 1. I learned that________________________________________________________. 2. Folk dance costumes tell about the ______________________________________. 3. Folk dances differ in _______________ because ___________________________. 234
4. ______________ can be a way to enhance an individual’s____________________. 5. I feel I am _____________________________________ in performing folk dances. 6. Folk dances are beneficial to one’s health because __________________________.
Self- Check: Draw a checkmark in the appropriate line that corresponds to your answer. To what extent did you……. 1. learn the dance steps? ___________to a great extent ___________to a moderate extent ___________to a lesser extent 2. execute correctly the dance step combinations? ____________to a great extent ____________to a moderate extent ____________to a lesser extent 3. memorize the dance? ____________to a great extent ____________to a moderate extent ____________to a lesser extent 4. express your emotions and feelings on the dance? ____________to a great extent ____________to a moderate extent ____________to lesser extent Self-check In your activity notebook, copy the numbered statements and put a checkmark on the space before each number that best describe your performance. ___1. I enjoyed executing the dance steps. ___2. I danced gracefully. ___3. I followed the instructions given by the teacher. ___4. I cooperated well with the group. ___5. I performed the basic movements correctly.
Reflection Write your answer to these questions in your activity notebook 235
1. Have you ever thought of expressing your feelings through the dance you performed in school? Explain. 2. Do you find dancing an effective way of expressing yourself? Justify.
You’re Great! Being able to reach this far is a clear indication of your passion to learn. You are now about to reach the most important part of the lesson and that is to experience performing the dance as a whole.
Part IV- WHAT TO TRANSFER
Activity 16: CULTURAL SHOWCASE
In this phase, you will perform your folk dance to the class and it will be rated according to these criteria: Choreography and Artistry, execution, and Mastery of the steps.) Change criteria for Mastery, Performance, Staging.
236
1. Go to the school gym for your culminating performance. If you don’t have a gym, set the classroom in a manner that can provide enough space for your performances. 2. Present your folk dance to the class (costume, props, accessories, and make-up are highly encouraged). 3. Assign somebody from your group to take charge of documenting your performance using video camera or any similar equipment or manner you preference. 4. Your teacher will sequence your performances drawing of lots. 5. Guest observers may be invited to witness the activity, including your parents, friends or relatives. 6. Provide feedback on the performance of other groups.
Well done! You are now about to reach the finish line. I know how
tired
you
must
be.
However, there is one more activity
that
accomplish
you
before
need
to
finishing
the race. This time let’s check your creativity and artistry by doing the next activity below. I know that you can make it! Carry on!
Activity 17- CREATIVE DOCUMENTARY
1. This time come up with a creative documentary from participating in folk dancing. You may consider doing a portfolio, a narrative or a visual presentation of the experiences, insights and benefits you gained. 2. Invite one member of your family to the class and have him/her share his/her experiences as a folk dance performer when he/she was still young and how folk dancing created impact on family solidarity and wellness in his/her lifestyle.
237
Wow! You did it well! Finishing all the activities with flying colors is a clear manifestation that you have learned all the lessons pretty well. After this phase what do you intend to do to enrich your gained. Would’nt you like to share what you
learned
to
your
friends,
family
members or to your community? The next activity will allow you to promote folk dancing as a form of physical activity. It’s a good journey after all!
LESSON VI
LEARNING GOAL- Promote folk dancing as a physical activity for the whole family. An activity becomes more meaningful when done and participated in by the whole family. The support given upon watching and applauding a family member 238
boosts ones confidence and self esteem. It is also a good form of bonding for the whole family watching together dance festivals in any various places in the country or even just in theatres. Somehow, you’ll be learning different culture through folk dances while spending leisure hours together. Furthermore, these activities promote lifelong fitness and wellness for they are potent sources of exercise that could develop grace, poise, and even help in maintaining good health for you and your family members.
Suggested Activities: 1. Together with your family, you may join in a field demonstration during your campus’ Foundation Day or in a stage performance/street dancing during your town fiesta. 2. You and your siblings can also join contests on Philippine folk dances. 3. Your family can go to theaters or museums to watch folk dance festivals and presentations.
SUMMARY/SYNTHESIS/GENERALIZATION: Now that you are done reading this learning material, I’m pretty sure that you are ready to face the challenges folk dancing brings in terms of its origin, historical background, dance steps and step patterns, dance interpretations and performance. You discovered that just like any other sports or a game, dancing is also a physical activity that can promote lifelong fitness and wellness. It is a good source of exercise that could help develop grace and poise. It can even help in maintaining good health as it highlights health-related skills such as cardio-vascular endurance, flexibility and strength. Surely, this module has enriched your mind to explore the wonders of folk dancing. In lesson 1, you have learned the significance of the origins and locations of folk dances by identifying the performers’ costumes and music. Here, you realized that just by merely looking at the costumes and props and listening to the music would tell you right away about the point of origin of a particular dance. You also learned the effects of acculturation brought about by the trade and settlement from our neighboring countries like China, Malaysia, Indonesia, Burma, Cambodia, Thailand and Japan. Lesson 2 has provided activities that led you to understand rhythmic patterns of selected regional and national dances with Asian influence particularly Binislakan, Sakuting, Sua-Ku-Sua, Pangalay and Tiklos. You discovered that rhythm plays an important role in the performance of the dance. Feeling the beat and rhythm of the music is a motivating factor for them to perform well. Also Lesson 3 has provided you activities that inspired you to demonstrate and master the basic steps of Binislakan, Tiklos, Sakuting, Sua-Ku-Sua and Pangalay. It enabled you to enhance your dancing skill and motivated you to show and share the 239
steps you’ve learned. Thus, you realized that mastering the basic dance steps could be used in the interpretation of the dance literature to a large extent. Moreover, Lesson 4 has presented you ways and means to discover the meaning of the gestures and hand movements in the performance of a particular dance. It enabled you to use your creativity in conveying proper emotions and gestures in different situations as found in the different settings needed in the given dances. Meanwhile, Lesson 5 has provided you with insights that made you master and understand the dance literature of Binislakan, Sakuting, Sua-Ku-Sua, Pangalay and Tiklos. Those insights enabled you to perform the dances appropriately and gracefully. In this part, you found out that the correct interpretation of the dance depends on the mastery and accuracy of your understanding of the elements of dance such as dance steps, step patterns and counting. Finally, Lesson 6 gave you a better perspective on the importance of folk dancing in relation to your family and community as it gave you opportunities to perform the given dances with your family members during town fiestas and school foundation days. It also gave you time to bond with your family members by watching culminating activities/cultural shows which gave you a chance to develop family solidarity as well as family wellness. We hope that through this module, you have become more acquainted with the significance of folk dances, and somehow you could use the knowledge you learned from this module not only during dance performances but also in maintaining a well and fit body and a sustainable life.
GLOSSARY OF TERMS Accent
-
Acculturation
-
Culture
-
Dynamics
-
Folk dance
-
emphasis on a beat, usually but not always, the first beat
of the measure a process in which members of one cultural group adopt the beliefs and behaviors of another group the totality of socially transmitted behavior patterns, arts, beliefs, institutions, and all other products of human work and thought an interactive system or process, especially one involving competing or conflicting forces a form of dance developed by a group of people that reflects the traditional life of the people of a certain
country
240
Folk dancing
–
Implements Improvisation
-
or region a great exercise and a fun recreational activity for people of all ages a device used in the performance of a task created extemporaneously, without planning.
Intensity accompaniment;
-
Lifelong Fitness – Tempo Traditions -
Wellness
-
in
music,
the
loudness
and
softness
of
an
in fitness, the degree of vigor or the amount of effort expended during an activity the condition of being fit and healthy throughout life. the rate of speed from fast to slow a mode of thought or behavior followed by a group people continuously from generation to generation; a custom or usage a way of life purposely designed to enjoy the highest level
of health and well-being possible, including nutrition, weight control, avoiding substance abuse, being physically fit and leading an active life, controlling stress, developing good relationships with others, living with high values and ethics, and attending to spirituality
References BOOKS:
Hiyas Philippine Folk Dance Company: Barrio Fiesta Suite Filipino Songs Atbp.: Philippine Folk Dance History Campers Point: Philippine Dance Philippine Folk Dances Volume 1 by Francisca Reyes Aquino Philippine Folk Dances Volume 2 by Francisca Reyes Aquino Philippine Folk Dances Volume 3 by Francisca Reyes Aquino Philippine Folk Dances Volume 4 by Francisca Reyes Aquino Philippine Folk Dances Volume 5 by Francisca Reyes Aquino MAPEH for a Better You by Jocelyn V. Bautista, Ma. Rosario C. Franco, Josefino N. Carlos, Danilo S. Duyan, Emilio S. Jacinto, Jr. Rosanna A Diana, Alvenia P. Palu-ay, Hazel P. Copiaco and Gloria M. Gacoscosim. MAPEH II by Vilma V. Perez, Lilian N. Luna and Crisanto E. Tomas A Classical Collection of Philippine Golk Dances, Series 4, Ramon Obusan for the Sua-Ku-Sua Dance Literature Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol. 1,2 and 4. 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
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The History of Filipino Folk Dance | How.com http://www.ehow.com/about_6558571_history-filipino-folkdance.html#ixzz27RKkEfja November 28, 2012 The History of Filipino Folk Dance | eHow.com http://www.ehow.com/about_6558571_history-filipino-folkdance.html#ixzz27RK6wqx1 November 28, 2012 The History of Filipino Folk Dance | eHow.com http://www.ehow.com/about_6558571_history-filipino-folkdance.html#ixzz27RKzSk8d November 28, 2012 http://wiki.answers.com/Q/What_is_sua_sua_folk_dance#ixzz27Xedp W18 November 28, 2012 http://www.bangkokcompanies.com/Dance/philipinnesdance1.jpg .bp.blogspot.com/_LgNn7UyFJLc/SvPQXKIpG4I/AAAAAAAAB3A/djYN O26rbPk/s400/leyte+dance+Theatre.jpg November 28, 2012 http://1.bp.blogspot.com/tcDLOUN0BlI/TbYivw6NsAI/AAAAAAAAACE/MFbsNavnvNo/s1600/sin gkil.jpg November 28, 2012 http://home.allgameshome.com/results.php?s=philippine+folk+dance&c ategory=images&start=1 November 28, 2012 http://www.youtube.com/watch?v=8QApCK1lTrU November 28, 2012 www.kalilayan.com November 28, 2012 http://images.search.yahoo.com/search/images;_ylt=A0PDoX5F909Qa h8A0iSJzbkF?p=pangalay%20dance&fr=yfp-t-521-s&ei=utf8&n=30&x=wrt&fr2=sg-gac&sado=1 November 28, 2012 asukacaramel.deviantart.com November 28, 2012 www.pinoyexchange.com November 28, 2012 http://www.flickr.com/photos/14280206@N03/ November 28, 2012 www.fiestafilipina.org November 28, 2012 www.panoramio.com November 28, 2012 www.playle.com November 28, 2012 archives.pia.gov.ph November 28, 2012 Pangalaydance.com/the-pangalay-dance-style-of-the-philippine-anintangible-cultural-heritage November 28, 2012
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