Instructional Planning (iPlan)

(With inclusion of the provisions of D.O. No. 8, s. 2015 and D.O. 42, s. 2016)

Detailed Lesson Plan (DLP) Format

DLP No.: Learning Area: Grade Level: Quarter: Duration: Date:
English 7 2nd 60 minutes December 2, 2018
Learning Competency/ies: Codes:
(Taken from the Curriculum Guide) Predict the gist of the material viewed based on EN7VC-II-f-1.3
the title, pictures, and excerpts of the material
viewed
EN7LT-II-f-4
Discover the conflicts presented in literary
selections and the need to resolve those
conflicts in non-violent ways

Key Concepts /
Understandings to be Verb Complements are needed to make the sentence ‘complete’.
Developed
Conflicts may be resolved in non-violent ways, one needs to sacrifice for
others.
Adapted Cognitive Process
Domain Dimensions OBJECTIVES
Knowledge Categories:
The fact or Remembering
condition of
knowing something Draw out the message of a song listened to.
with familiarity
gained through Understanding Identify some Filipino Dances taken from varied regions in the country.
experience or
association
Explain Verb Complement.

Skills Applying Perform basic dance steps that indicate intimacy and letting go.
The ability and
capacity acquired
through deliberate, Analyzing Distinguish whether the information is true or false based on the story
systematic, and
sustained effort to read/viewed.
smoothly and
adaptively carryout
Evaluating Evaluate verb feature patterns used in sentences.
complex activities
or ... the ability,
coming from one's Creating Express differing views on when love is worth fighting for.
knowledge, practice,
aptitude, etc., to do
something

Attitude Internalizing Appreciate and respect one’s culture.

Values

Values Maka-tao Discover that love entails sacrifice.

2. Content Literature: “The Wedding Dance” by Amador Daguio

Grammar: Verb Complement
3. Learning Resources
 English 7 Learners Package (pages 26-42)
 English 7 Teachers Manual
 “I Don’t Want You to Go” by Kyla
https://www.youtube.com/watch?v=MphjoV_S3wM
 “The Wedding Dance” by Amador Daguio
https://www.youtube.com/watch?v=h-5UqMAvcTQ
 Pictures of Goodbye
https://www.istockphoto.com/photo/asian-couple-say-hi-or-goodbye-for-abroad-
at-airport-back-asian-man-waving-hand-gm918036014-252544915
https://www.thejournal.ie/christmas-goodbyes-pictures-738972-Jan2013/#slide-
slideshow4
https://www.123rf.com/photo_30771876_sad-young-couple-say-goodbye-at-
airport.html
 Laptop, Projector, Handouts, Visual Aids
4. Procedures
4.1 Introductory Activity Preliminaries:
Prayer, greetings, checking of attendance, and other classroom
management.

5 minutes
ACTIVE SCHEMA
a. Show a picture of a couple who seem to be saying goodbye to
each other. (See Appendix A)
b. Ask students the prevailing emotions in the picture.
c. Prepare the students for the listening activity.
d. Instruct the students with what they need to do as they listen to the
song.

TASK 1.Sit Back, Relax, and Relish the Music

Say: There are a lot of songs that take you somewhere back to your past.
It may be a past experience from your life or a past experience from
a story you have seen in a film or you have read from a book. Songs
may even bring you back from the stories told to you by a family
member or a close friend. Listen to the song and glance at its lyrics;
and you may enumerate as many feelings that the song may draw
out from you.

Play: I Don’t Want You To Go by Kyla

https://www.youtube.com/watch?v=MphjoV_S3wM

Say: What was the message of the persona in the song? Write True if you
agree with the statement and False if you disagree.

TRUE 1. The persona in the song expresses the pain of letting go.
TRUE 2. The persona, too, has let go of the relationship.
TRUE 3. The persona is aware of how things will go in the end.
TRUE 4. The persona and the beloved have grown by letting go.
FALSE 5. The persona is ready to love again.

4.2 Activity
Task 2. Yes, Filipinos Can Dance! (Vocabulary Building)
Divide the class into 2 groups, they have to work collaboratively in
this
activity.

Say: Filipinos don‘t just sing well, Filipinos dance well, too. With the given
25 minutes
clues match the picture to the type of some Filipino dances taken
from varied regions of the country. (See Appendix B).

Task 3. Your Text – “The Wedding Dance” by Amador Daguio

Prepare the students for the viewing activity. Tell them to take note of
important details in the story. (If video and projectors are not available, the
teacher can lead the students in reading the text)

https://www.youtube.com/watch?v=h-5UqMAvcTQ
(See Appendix C for the Complete Copy of the Story)
4.3 Analysis
Task 4. Locate, Reflect, Evaluate with FeedBox

Using the FeedBox, determine whether the statement is TRUE or FALSE.

(See Appendix D)

10 minutes Task 5. The Dance in the Story

Basic dance necessitates a step forward and a step backward. A step
forward to a dancing partner may mean intimacy and a step backward
away from the dancing partner may mean letting go.

Ask the students to find a partner, STEP FORWARD to each other if the
character just did a forward step and STEP BACKWARD from each other
if the character did a backward step through the given lines in the story.
(See Appendix E)

4.4 Abstraction Task 6. Watch Out!

Say: Study the following sentences.

1. Awiyao wanted a child

2. Awiyao wanted to have a child.
3. Lumnay laughed aloud.
4. Lumnay laughed at her mistake.
10 minutes
Without the underlined parts in sentences 1-2, these sentences would be
incomplete:
“Awiyao wanted”

The underlined words are complements of the verb wanted – they ‘complete’
it.

The underlined parts in (3-4), of course, add more information to the

sentence. But, unlike (1-2), they are not absolutely necessary to make the
sentence grammatical. You can leave them out and the sentence would still
be grammatical: ‘Lumnay laughed’.

So, the underlined parts are not complements, they are called adjuncts,
which are optional and can be omitted.

The underlined parts in the following are also adjuncts:

5. Awiyao wanted a child for this is the rule of their tribe.

6. Awiyao wanted a child because the tribe forced him.

we will not be saying much about adjuncts, because they are less likely to
cause errors, and because they are too many and varied. But complements
are grammatically much more important, and you should try your best to use
them correctly.

Verbs have features or complements to determine how many other

words would follow. Many verbs can be followed by:

1. An object;
2. A verb structure; or,
3. An expression that has information about the object (of the verb).

Discuss: Verb Complements or Verb Features

CHECK THE RULES!

So what are these forms or features which may follow the main verb in the
sentence?
 1. Verbs followed by one object: the direct object (DO answers the
question
WHAT) or the indirect object (IO answers the question WHO).

Examples:

Awiyao asked Lumnay.

V IO
Awiyao asked a question.
V DO

2. Verbs followed by two objects:

a. the indirect object, usually a person, comes first before the direct
object.

Examples:

Awiyao asked Lumnay a question.

V IO DO
Awiyao gave her the beads.
V IO DO

Some of the verbs which can be followed by two objects are: bring, buy,
cost, get, give, leave, lend, make, offer, owe, pass, pay, play, promise,
read, refuse, send, show, sing, take, teach, tell, wish, write.

b.Verbs explain, suggest, and describe are not used with the
structure IO + DO.

Example:

“Awiyao, please explain your decision to me.”

V DO IO

3. Verbs followed by object + infinitive, rather than by a that-clause

Incorrect: “I don‘t want that he goes.”
Correct: “I don‘t want him to go.”

Incorrect: “We didn‘t allow Awiyao and Lumnay that they continue
living together.”
Correct: We didn‘t allow Awiyao and Lumnay to continue living
together.

4.5 Application
Task 6. It Wasn’t Meant to Be

Tragic love stories happen when people who are so much in love don‘t
3 minutes
end up together. Know about them as you identify the verb feature
pattern. Choose from the patterns below.

A. Verbs followed by one object

B. Verbs followed by two objects
C. Verbs followed by object + infinitive

1. The phantom led us to believe that he loves Christine. (Phantom of the Opera; 2004)
V IO INF

2. Francesca loves Robert, but she cannot leave her children (The Bridges of
V IO V IO Madison Country;
1995)
 3. Rose never told anyone about Jack until telling her story of the Titanic.
V IO DO (Titanic, 1997)

Answers:
1. C
2. A
3. B

4.6

4.6 Assessment 5 minutes

For the Teacher to:
a) Assess whether learning objectives have been met for a specified duration, b) Remediate and/or enrich with
appropriate strategies as needed, and c) Evaluate whether learning intentions and success criteria have been
met. (Reminder: Formative Assessment may be given before, during, or after the lesson). Choose any from the
Assessment Methods below:

Assessment Method Possible Activities

a) Observation Investigation, Role Play, Oral
(Formal and informal observations of Presentation, Dance, Musical
Performance, Skill Demonstration,
learners’ performance or behaviors
Group Activity (e.g. Choral Reading),
are recorded, based on assessment Debate, Motor & Psychomotor Games,
criteria) Simulation Activities, Science
Experiment
b) Talking to Learners / Hands-on Math Activities, Written Work
Conferencing and Essay, Picture Analysis, Comic
Strip, Panel Discussion, Interview,
(Teachers talk to and question learners
Think-Pair-Share, Reading
about their learning to gain insights
on their understanding and to
progress and clarify their thinking)
c) Analysis of Learners’ Products Worksheets for all subjects, Essay,
(Teachers judge the quality of products Concept Maps/Graphic Organizer,
Project, Model, Artwork, Multi-media
produced by learners according to
Presentation, Product made in
agreed criteria) technical-vocational subjects
d) Tests Skill Performance Test, Open-Ended
(Teachers set tests or quizzes to Question, Practicum, Pen and Paper Task 7: Pen and Paper Test:
Test, Pre and Post Test, Diagnostic Test,
determine learners’ ability to
Oral Test, Quiz
demonstrate mastery of a skill or
knowledge of content) Let’s See What You Have Learned. (See Appendix F)

Choose the verb feature patterns used for every

sentence. Write only the letter of your choice on the
space provided.

4.7 Assignment : Fill-in below any of the four purposes:

 Reinforcing / strengthening the day’s lesson Task 8 :JOURNAL WRITING:

What are the two sides of the coin in separation?

There are several possible reasons why a person would
need to let go or should not let go:
1. Intervening parents
2. Differing culture or religion
3. Imposing rules of society
3. Tempting career advancement
4. Existing physical distance
5. Discovering a third party

In your journal answer these questions:

Should you fight for the one you love? Or should you let
go and take in all of the hurt for the other‘s sake?

 Enriching / inspiring the day’s lesson

 Enhancing / improving the day’s lesson

 Preparing for the new lesson

4.8 Concluding Activity (2 minutes).
This is usually a brief but affective closing activity such as a strong “Sacrificing your happiness for the happiness of the one you love, is
quotation, a short song, an anecdote, parable or a letter that inspires
by far, the truest type of love.” (Anonymous)
the learners to do something to practice their new learning.

1. Remarks Indicate below special cases including but not limited to continuation of lesson plan to the following day in case of re-
teaching or lack of time, transfer of lesson to the following day, in cases of class suspension, etc.

2. Reflections Reflect on your teaching and assess yourself as a teacher. Think about your student’s progress this week. What works?
What else needs to be done to help the students learn? Identify what help your instructional supervisors can provide for
you so when you meet them, you can ask them relevant questions. Indicate below whichever is/are appropriate.
A. No. of learners who earned C. Did the remedial lessons work? No. of
80% in the evaluation. learners who have caught up with the
lesson.
B. No. of learners who require D. No. of learners who continue to
additional activities for require remediation.
remediation.
E. Which of my learning strategies
worked well? Why did these work?

F. What difficulties did I encounter

which my principal or supervisor can
help me solve?

G. What innovation or localized

materials did I use/discover which I
wish to share with other teachers?

Prepared by:
Name: FAITH C. ECHAVEZ School: TAYUD NATIONAL HIGH SCHOOL
Position/Designation: TEACHER 1 Division: CEBU PROVINCE
Contact Number: 09667717733 Email address: [email protected] / [email protected]/
[email protected]
Bibliography
Pictures of Goodbye:

https://www.istockphoto.com/photo/asian-couple-say-hi-or-goodbye-for-abroad-at-airport-back-asian-man-waving-
hand-gm918036014-252544915

https://www.thejournal.ie/christmas-goodbyes-pictures-738972-Jan2013/#slide-slideshow4

https://www.123rf.com/photo_30771876_sad-young-couple-say-goodbye-at-airport.html

Picture of Dances:

http://www.kaloobdance.com/Alcamfor.html

https://www.google.com/search?biw=1366&bih=626&tbm=isch&sa=1&ei=LjcBXJPFMJK-
wAOGpIfoBg&q=DINUYA&oq=DINUYA&gs_l=img.3.2.0i24j0i10i24l3.587357.591425..591764...0.0..2.183.2278.0j14......2.
...1j2..gws-wiz-img.....0..0j35i39j0i67j0i10.qTptGEPhGOI#imgrc=SkdoDVoaYdsYiM:

http://worldartswest.org/main/edf_performer.asp?i=55

https://bensalves.wordpress.com/2012/07/24/red-ties/

Appendices: (attach all materials that will be used)

1. Activity Sheet …
2. Formative Assessment …
3. Answer Key …
4. Handouts …
5. PowerPoint Presentation …
6. Others
APPENDIX A

PICTURES OF GOODBYE

https://www.istockphoto.com/photo/
asian-couple-say-hi-or-goodbye-for-
abroad-at-airport-back-asian-man-
waving-hand-gm918036014-
252544915

https://www.thejournal.ie/christ https://www.123rf.com/photo_
mas-goodbyes-pictures-738972- 30771876_sad-young-couple-
Jan2013/#slide-slideshow4
say-goodbye-at-airport.html
APPENDIX B

FILIPINO CAN DANCE

With the given clues match the picture to the type of some Filipino dances taken from varied
regions of the country.

BENDAYAN
(Cordillera Dance, Benguet) This
is a circle dance, which is being
performed to celebrate the
arrival of successful headhunters.

DINUYA:

(Cordillera Dance, Ifugao)

This is a festival dance performed
by the Ifugao men and women
during a major feast
accompanied by gangsa or gongs.

ALCAMFOR:

(Muslim dance, Leyte)

This is a couple‘s dance in which
the girl holds a handkerchief
laced with camphor oil, a
substance that supposedly
induces romance.

BAGOBO RICE CIRCLE:

(Tribal Dance, Davao del Norte)
A tribal dance from the Bagobo
tribe which portrays the cycle of
planting and harvesting rice.
 APPENDIX C

Wedding Dance
by Amador Daguio

1Awiyao reached for the upper horizontal log which served as the edge of the head high threshold.
Clinging to the log, he lifted himself with one bound that carried him across to the narrow door. He slid
back the cover, stepped inside, then pushed the cover back in place. After some moments during which
he seemed to wait, he talked to the listening darkness.

2"I'm sorry this had to be done. I am really sorry. But neither of us can help it."

3The sound of the gangsas beat through the walls of the dark house like muffled roars of falling waters.
The woman who had moved with a start when the sliding door opened had been hearing the gangsas for
she did not know how long. There was a sudden rush of fire in her. She gave no sign that she heard
Awiyao, but continued to sit unmoving in the darkness.

4But Awiyao knew that she heard him and his heart pitied her. He crawled on all fours to the middle of the
room; he knew exactly where the stove was. With bare fingers he stirred the covered smoldering embers,
and blew into the stove. When the coals began to glow, Awiyao put pieces of pine on them, then full round
logs as his arms. The room brightened.

5"Why don't you go out," he said, "and join the dancing women?" He felt a pang inside him, because what
he said was really not the right thing to say and because the woman did not stir. "You should join the
dancers," he said, "as if--as if nothing had happened." He looked at the woman huddled in a corner of the
room, leaning against the wall. The stove fire played with strange moving shadows and lights upon her
face. She was partly sullen, but her sullenness was not because of anger or hate.

6"Go out--go out and dance. If you really don't hate me for this separation, go out and dance. One of the
men will see you dance well; he will like your dancing, he will marry you. Who knows but that, with him,
you will be luckier than you were with me."

7"I don't want any man," she said sharply. "I don't want any other man." 8He felt relieved that at least she
talked: "You know very well that I won't want any other woman either. You know that, don't you? Lumnay,
you know it, don't you?"

9She did not answer him. "You know it Lumnay, don't you?" he repeated. "Yes, I know," she said weakly.

10"Itis not my fault," he said, feeling relieved. "You cannot blame me; I have been a good husband to
you."

11"Neither can you blame me," she said. She seemed about to cry.

12"No, you have been very good to me. You have been a good wife. I have nothing to say against you."
He set some of the burning wood in place. "It's only that a man must have a child. Seven harvests is just
too long to wait. Yes, we have waited too long. We should have another chance before it is too late for
both of us."

13Thistime the woman stirred, stretched her right leg out and bent her left leg in. She wound the blanket
more snugly around herself.
14"Youknow that I have done my best," she said. "I have prayed to Kabunyan much. I have sacrificed
many chickens in my prayers." "Yes, I know."
15"You remember how angry you were once when you came home from your work in the terrace because
I butchered one of our pigs without your permission? I did it to appease Kabunyan, because, like you, I
wanted to have a child. But what could I do?"

16"Kabunyan does not see fit for us to have a child," he said. He stirred the fire. The spark rose through
the crackles of the flames.

17The smoke and soot went up the ceiling.

18Lumnay looked down and unconsciously started to pull at the rattan that kept the split bamboo flooring in
place. She tugged at the rattan flooring. Each time she did this the split bamboo went up and came down
with a slight rattle. The gong of the dancers clamorously called in her care through the walls.

19Awiyao went to the corner where Lumnay sat, paused before her, looked at her bronzed and sturdy
face, then turned to where the jars of water stood piled one over the other. Awiyao took a coconut cup and
dipped it in the top jar and drank. Lumnay had filled the jars from the mountain creek early that evening.

20"I came home," he said. "Because I did not find you among the dancers. Of course, I am not forcing you
to come, if you don't want to join my wedding ceremony. I came to tell you that Madulimay, although I am
marrying her, can never become as good as you are. She is not as strong in planting beans, not as fast in
cleaning water jars, not as good keeping a house clean. You are one of the best wives in the whole
village."

21"That has not done me any good, has it?" She said. She looked at him lovingly. She almost seemed to
smile.

22He put the coconut cup aside on the floor and came closer to her. He held her face between his hands
and looked longingly at her beauty. But her eyes looked away. Never again would he hold her face. The
next day she would not be his any more. She would go back to her parents. He let go of her face, and she
bent to the floor again and looked at her fingers as they tugged softly at the split bamboo floor.

23"This house is yours," he said. "I built it for you. Make it your own, live in it as long as you wish. I will
build another house for Madulimay." "I have no need for a house," she said slowly. "I'll go to my own
house. My parents are old. They will need help in the planting of the beans, in the pounding of the rice."

24"Iwill give you the field that I dug out of the mountains during the first year of our marriage," he said.
"You know I did it for you. You helped me to make it for the two of us." "I have no use for any field," she
said. He looked at her, then turned away, and became silent. They were silent for a time.

25"Go back to the dance," she said finally. "It is not right for you to be here. They will wonder where you
are, and Madulimay will not feel good. Go back to the dance."

26"I
would feel better if you could come, and dance---for the last time. The gangsas are playing." "You
know that I cannot."

27"Lumnay," he said tenderly. "Lumnay, if I did this it is because of my need for a child. You know that life
is not worth living without a child. The men have mocked me behind my back. You know that." "I know it,"
she said. "I will pray that Kabunyan will bless you and Madulimay."

28She bit her lips now, then shook her head wildly, and sobbed.

29She thought of the seven harvests that had passed, the high hopes they had in the beginning of their
new life, the day he took her away from her parents across the roaring river, on the other side of the
mountain, the trip up the trail which they had to climb, the steep canyon which they had to cross. The
waters boiled in her mind in forms of white and jade and roaring silver; the waters tolled and growled,
resounded in thunderous echoes through the walls of the stiff cliffs; they were far away now from
somewhere on the tops of the other ranges, and they had looked carefully at the buttresses of rocks they
had to step on---a slip would have meant death.

30They both drank of the water then rested on the other bank before they made the final climb to the other
side of the mountain.
31She looked at his face with the fire playing upon his features---hard and strong, and kind. He had a
sense of lightness in his way of saying things which often made her and the village people laugh. How
proud she had been of his humor. The muscles where taut and firm, bronze and compact in their hold
upon his skull---how frank his bright eyes were. She looked at his body the carved out of the mountains
five fields for her; his wide and supple torso heaved as if a slab of shining lumber were heaving; his arms
and legs flowed down in fluent muscles--he was strong and for that she had lost him.

32She flung herself upon his knees and clung to them. "Awiyao, Awiyao, my husband," she cried. "I did
everything to have a child," she said passionately in a hoarse whisper. "Look at me," she cried. "Look at
my body. Then it was full of promise. It could dance; it could work fast in the fields; it could climb the
mountains fast. Even now it is firm, full. But, Awiyao, I am useless. I must die."

33"Itwill not be right to die," he said, gathering her in his arms. Her whole warm naked naked breast
quivered against his own; she clung now to his neck, and her hand lay upon his right shoulder; her hair
flowed down in cascades of gleaming darkness.

34"I don't care about the fields," she said. "I don't care about the house. I don't care for anything but you.
I'll have no other man." "Then you'll always be fruitless."

35"I'll
go back to my father, I'll die." "Then you hate me," he said. "If you die it means you hate me. You do
not want me to have a child. You do not want my name to live on in our tribe." She was silent.

36"IfI do not try a second time," he explained, "it means I'll die. Nobody will get the fields I have carved out
of the mountains; nobody will come after me."

37"If
you fail--if you fail this second time--" she said thoughtfully. The voice was a shudder. "No--no, I don't
want you to fail."

38"If I fail," he said, "I'll come back to you. Then both of us will die together. Both of us will vanish from the
life of our tribe."

39The gongs thundered through the walls of their house, sonorous and faraway.

40"I'll
keep my beads," she said. "Awiyao, let me keep my beads," she half-whispered. "You will keep the
beads. They come from far-off times. My grandmother said they come from up North, from the slant-eyed
people across the sea. You keep them, Lumnay. They are worth twenty fields." "I'll keep them because
they stand for the love you have for me," she said. "I love you. I love you and have nothing to give."

41She took herself away from him, for a voice was calling out to him from outside. "Awiyao! Awiyao! O
Awiyao! They are looking for you at the dance!" "I am not in hurry." "The elders will scold you. You had
better go." "Not until you tell me that it is all right with you."

42"Itis all right with me." He clasped her hands. "I do this for the sake of the tribe," he said. "I know," she
said. He went to the door.

43"Awiyao!"

44He stopped as if suddenly hit by a spear. In pain he turned to her. Her face was in agony. It pained him
to leave. She had been wonderful to him. What was it that made a man wish for a child? What was it in
life, in the work in the field, in the planting and harvest, in the silence of the night, in the communing with
husband and wife, in the whole life of the tribe itself that made man wish for the laughter and speech of a
child? Suppose he changed his mind? Why did the unwritten law demand, anyway, that a man, to be a
man, must have a child to come after him? And if he was fruitless--but he loved Lumnay. It was like taking
away of his life to leave her like this.

45"Awiyao," she said, and her eyes seemed to smile in the light. "The beads!" He turned back and walked
to the farthest corner of their room, to the trunk where they kept their worldly possession---his battle-ax
and his spear points, her betel nut box and her beads. He dug out from the darkness the beads which had
been given to him by his grandmother to give to Lumnay on the beads on, and tied them in place. The
white and jade and deep orange obsidians shone in the firelight. She suddenly clung to him, clung to his
neck as if she would never let him go.

46"Awiyao! Awiyao, it is hard!" She gasped, and she closed her eyes and buried her face in his neck.
47The call for him from the outside repeated; her grip loosened, and he buried out into the night.

48Lumnay sat for some time in the darkness. Then she went to the door and opened it. The moonlight
struck her face; the moonlight spilled itself on the whole village.

49She could hear the throbbing of the gangsas coming to her through the caverns of the other houses.
She knew that all the houses were empty that the whole tribe was at the dance. Only she was absent. And
yet was she not the best dancer of the village? Did she not have the most lightness and grace? Could she
not, alone among all women, dance like a bird tripping for grains on the ground, beautifully timed to the
beat of the gangsas? Did not the men praise her supple body, and the women envy the way she stretched
her hands like the wings of the mountain eagle now and then as she danced? How long ago did she
dance at her own wedding? Tonight, all the women who counted, who once danced in her honor, were
dancing now in honor of another whose only claim was that perhaps she could give her husband a child.

50"It
is not right. It is not right!" she cried. "How does she know? How can anybody know? It is not right,"
she said.

51Suddenly she found courage. She would go to the dance. She would go to the chief of the village, to the
elders, to tell them it was not right. Awiyao was hers; nobody could take him away from her. Let her be the
first woman to complain, to denounce the unwritten rule that a man may take another woman. She would
tell Awiyao to come back to her. He surely would relent. Was not their love as strong as the river?

52She made for the other side of the village where the dancing was. There was a flaming glow over the
whole place; a great bonfire was burning. The gangsas clamored more loudly now, and it seemed they
were calling to her. She was near at last. She could see the dancers clearly now. The man leaped lightly
with their gangsas as they circled the dancing women decked in feast garments and beads, tripping on the
ground like graceful birds, following their men. Her heart warmed to the flaming call of the dance; strange
heat in her blood welled up, and she started to run. But the gleaming brightness of the bonfire
commanded her to stop. Did anybody see her approach? She stopped. What if somebody had seen her
coming? The flames of the bonfire leaped in countless sparks which spread and rose like yellow points
and died out in the night. The blaze reached out to her like a spreading radiance. She did not have the
courage to break into the wedding feast.

53Lumnay walked away from the dancing ground, away from the village. She thought of the new clearing
of beans which Awiyao and she had started to make only four moons before. She followed the trail above
the village.

54When she came to the mountain stream she crossed it carefully. Nobody held her hand, and the stream
water was very cold. The trail went up again, and she was in the moonlight shadows among the trees and
shrubs. Slowly she climbed the mountain.

55When Lumnay reached the clearing, she could see from where she stood the blazing bonfire at the edge
of the village, where the wedding was. She could hear the far-off clamor of the gongs, still rich in their
sonorousness, echoing from mountain to mountain. The sound did not mock her; they seemed to call far
to her, to speak to her in the language of unspeaking love. She felt the pull of their gratitude for her
sacrifice. Her heartbeat began to sound to her like many gangsas.

56Lumnay though of Awiyao as the Awiyao she had known long ago-- a strong, muscular boy carrying his
heavy loads of fuel logs down the mountains to his home. She had met him one day as she was on her
way to fill her clay jars with water.

57He had stopped at the spring to drink and rest; and she had made him drink the cool mountain water
from her coconut shell. After that it did not take him long to decide to throw his spear on the stairs of her
father's house in token on his desire to marry her.

58The mountain clearing was cold in the freezing moonlight. The wind began to stir the leaves of the bean
plants. Lumnay looked for a big rock on which to sit down. The bean plants now surrounded her, and she
was lost among them.

59A few more weeks, a few more months, a few more harvests---what did it matter? She would be holding
the bean flowers, soft in the texture, silken almost, but moist where the dew got into them, silver to look at,
silver on the light blue, blooming whiteness, when the morning comes. The stretching of the bean pods full
length from the hearts of the wilting petals would go on.

60Lumnay's fingers moved a long, long time among the growing bean pods.

APPENDIX D

Locate, Reflect, Evaluate!

Locate information in the selection to determine whether each statement is true or false.

TRUE 1. The story says aloud that a man who loves unconditionally should give up his or her
happiness for the beloved.

FALSE 2. The title speaks of the dance that happened in the wedding of Awiyao and Lumnay.

TRUE 3. Awiyao and Lumnay still confessed their love for each other in the midst of their
separation.

TRUE 4. The presence of darkness in the story symbolizes the sadness in their hearts in contrast
to the ember in the fire logs that represents their strong and deep love for each other.

FALSE 5. The beads given to Lumnay by Awiyao will be given to Madulimay in the wedding.

TRUE 6. Awiyao is more courageous than Lumnay to surrender his love and take all the hurt that
goes with it.

TRUE 7. The tribe‘s convention and practice on raising a family bore much burden to Awiyao and
Lumnay.

TRUE 8. The gangsas represent the tribe‘s rule and power.

FALSE 9. Lumnay is triumphant in the end of the story.

TRUE_ 10. The story speaks of sacrifice and love.

Appendix E – THE DANCE IN THE STORY

Basic dance necessitates a step forward and a step backward. A step forward to a dancing partner
may mean intimacy and a step backward away from the dancing partner may mean letting go.

Directions: Find a partner. STEP FORWARD (F) to each other if the character just did a forward step
and STEP BACKWARD (B) from each other if the character did a backward step
through the given lines in the story.

TRIAL:
F. Awiyao went to the corner where Lumnay sat. (Para. 19)

FINAL:
B 1. But her eyes looked away. (Para. 22)

B 2. He let go of her face. (Para. 22)

F 3. He looked at her, (Para. 24)

F 4. She flung herself upon his knees and clung to them. (Para. 32)

F 5. …Gathering her in his arms. (Para. 33)

F 6. She clung now to his neck, and her hand upon his right shoulder…(Para. 33)

B 7. She took herself away from him. (Para. 41)

F 8. He clasped her hands. (Para. 42)

B 9. Her grip loosened. (Para. 47)

B 10. He buried out into the night. (Para. 47)

Appendix F

Let’s See What You Have Learned. (Pen and paper test)

Directions: Choose the verb feature patterns used for every sentence. Write only the letter of
your choice on the space provided.

A. Verbs followed by one object

B. Verbs followed by two objects

C. Verbs followed by object + infinitive

______B______ 1. She sent her friend an email.

______B______ 2. He gave them a bag full of money. 

______C______ 3. Everyone expected her to win.

______A______ 4. He offered a flower. 

______C______ 5. It pained him to leave.

______A______ 6. She followed the trail above the village

______A______ 7. We asked an apology.

______C______ 8. He told his assistant to send the parcel.

______B______ 9. That carpenter sold him a ticket.

______A______ 10. They brought a small present.