MODULE II

PHILIPPINE FOLK DANCES

Lesson 1 History of Philippine Folk Dance

Lesson 2 Dance Terms Common to Folk Dance

Lesson 3 Note Values and Note Patterns

Lesson 4 Fundamental Dance Steps in 2/4

and ¾ Time Signature

Lesson 5 Folk Dance Proper

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MODULE II
PHILIPPINE FOLK DANCES

INTRODUCTION

This module discusses about Folk Dances. Specifically How Philippine Folk
Dances evolved. Dance terms common to Folk Dance. Fundamental Dance steps in
2/4 and 3/4 time signature and Folk Dances. It is also hopes that you will learn to
appreciate Philippine Folk Dances as a form of fitness and for cultural
preservation.

OBJECTIVES

At the end of this module, you will be able to:

1. Discuss and understand the history of Philippine folk dances.
2. Identify and analyze the Dance Terms Common to Folk Dance
3. Determine and familiarize the note values and note pattern.
4. Discuss and recognize the different time signature and dance pattern.
5. Identify and familiarize the common dance steps in 2/4 and 3/4 time
signature
6. Interpret the literature of the folk dance given.
7. Perform the dance “Cariñosa” correctly and with grace.

DIRECTIONS/ MODULE ORGANIZER

There are five lessons in the module. Read each lesson carefully then
answer/execute the exercises/activities to find out how much you have benefited
from it. Work on these exercises carefully and submit your output to your
instructor
In case you encounter difficulty, discuss this with your instructor through
Facebook Messenger.
Good luck!!!

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Lesson 1

HISTORY OF PHILIPPINE FOLK DANCE

Learning Outcome:
Discuss and understand the history of Philippine folk dances.

Concept

According to Philippine legend, the first man and the first woman went up
the hill to make their first home. They begot many children’s and later became the
ancestors of diverse tribes.
Several beliefs became their way of life. When lightning flashed in the sky,
and when the thunder rumbled, the tribes were struck with fear. They thought
that the gods were angry. To placate their deities, they offered sacrificial rites by
way of fire and smoke in the belief that the smoke from fires kindled carried their
invocation heaven wards.

When illness and pestilence befell the tribes, the people wailed and chanted
and danced long into the night, so that the evil spell might be broken. When the
earth caked from drought, they perform dance of propitiation, so that the divine
entities might take pity on them and send rain to their parched fields. And when
the rains come and drenched the soil; to assure a bountiful harvest, these children
of the gods danced in the moonlight in joy and thanksgiving.

In the act of imploring, conciliating and giving thanks to the gods, the
people of these islands created dance to live forever themselves in their children
and children’s children.

Dance in the Philippine influences the diversity of our cultural beginnings

and the drama of our everyday lives. It blends the exotic customs and structures of
many countries and races-Indonesian, Malays, Chinese, Indian, Spanish and
Americans.
The Philippine archipelago had been inhabited by three different racial
groups even before the coming of Magellan in 1521. They were the pygmies,
Indonesians, and Malays. The Negritos and Proto-Malays were the descendants of
the pygmies, as nearly those days, dancing among the Negritos was mostly
pantomimic performed to depict the events of daily chores.
Filipinos possess the natural grace, in born love and music and dance.
Dancing was considered a religious activity among them. They danced for many
occasion birth, love, courtship, thanksgiving, wedding, war, victory, marriage,

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planting and harvesting, prosperous voyage, recovery from sickness and to heal the
sick.

Also the natural environment has greatly affected our dances. In tropical
climate dances are generally slow. Languorous and energetic. The rice producing
regions carry the characteristics of their occupation-rice planting, harvesting and
winnowing. Those living near the seas, lakes and rivers depict in their dances
fishing expeditions, such as the movements of fish, boat rowing and the like. In the
mining regions, the dances depict mining as their occupation. In the coconut
regions, they use coconut shells in their dances.
In place where life is easy, the dances are gay and frolicsome. Dances in
places where life is hard are sad, slow and even mournful.
Filipinos are also lovers of rituals as shown in ceremonial dances during
town fiestas, Christmas, Easter, ash Wednesdays. There were dances performed by
the priests and the priestesses in the thanksgiving for a plentiful harvest, as
victorious battle, a prosperous voyage or recovery from sickness, to drive away evil
spirits and in invoking their gods and anitos.

Classification of Philippine Folk Dances

A. According to Geography
1. National Dances – dances found throughout the country.
2. Regional Dances – dances found in a certain locality or region.

B. According to Nature
1. Occupational Dances – depicts actions of certain occupation, industry, or
human labor.
2. Religious or Ceremonial dances – dances that are performed in
connection with religious vows, practices, and ceremonies.
3. Courtship dances - these are dances with love themes.
4. Wedding dances – dances that are performed by newlyweds, by friends
and relatives of the bride and groom, or by the father of the bride and
mother of the groom.
5. Festival dances – dances performed in connection with a celebration, a
feast, a barrio fiesta, good harvest and a good fortune.
6. Comic dances – dances with funny and humorous movements mainly
intended for entertainment.
7. War dances – dances which are intended to show imaginary combat or
duel with the use of fighting weapons like bolo or a spear.
8. Game dances – dances that have some play elements and for recreational
purposes.

C. According to Movements
1. Active

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2. Moderate
3. Slow –
4. Slow and fast combination

D. According to Formation
1. Square or quadrille
2. Long formation or line formation – two or more parallel lines
3. Set – consisting of two or more pairs as a unit partners facing each other
or standing side by side.

Benefits of Folk Dancing

 PHYSIOLOGICAL
- Folk dances help you posture and alignment of your body, motor
skills, and positioning.
- It is makes you more flexible, makes you last longer, and makes you
feel more confident.
 SOCIAL
- It will help you gain more meaningful interactions, social skills,
cooperation, and motivation.
 CULTURAL
- It will learn to cross cultures and deepen your understanding of your
own cultural identity.
 ARTISTIC
- It will help you, more creative and artistic.
 RECREATIONAL
- You will have fun when you do folk dancing

THINK!

NOTE: FOLK DANCE – is one of the oldest form of art. It is also

considered a traditional dance or ethnic dance of a given country. It
relates to the customs, traditions and daily lives of a certain
community or locality.

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Lesson 2:

Common Dance Terms in Folk Dances

Learning Outcome:
Identify and analyze the Dance Terms Common to Folk Dance

Bow or Saludo - Partners bow to each other to the opposite dancers or to the
audience. This is a Spanish Origin
Brush - Weight of one foot swing the free foot in an arch, so that the ball or heel
strikes the floor at the lowest point of the arch. This may be done forward,
backward, or sideward.
Cabeceras - When the dancers are in square formation, the couples occupying the
width of the hall are called “cabeceras” or head couples. This is a Spanish
origin.
Clockwise - Like the motion of the clock moving to the left, when facing center
when moving forward.
Counter Clockwise - The reverse direction of clockwise, the hands of the clock
moving to the right, when facing the center. Left shoulder is toward the
center of the imaginary circle when moving forward.
Cut - Quick change of weight from one foot to the other displacing the supporting
foot. (maybe forward, backward, or sideward,)
Cross-Over - Two couples (the vis-à-vis) are opposite each other. Each couple
proceeds in a straight line to the opposite place. The girls pass by their left
shoulders between the boys. Boys bow to each other when they meet at the
middle or about one-third of the way, then proceed to the opposite place.
Upon reaching the opposite place, partners turn about, girls stand at
partners ‘left shoulder.
Dosido or Dos-a-dos - Two people walk toward each pass by the right shoulder
step sideward to the right and return to position walking backward, passing
left shoulder.
Draw - The free foot is drawn toward the foot, which supports the body weight, by
pressing the toes against the floor as the close is made. With or without
transfer of weight.

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Free Foot - The foot not supporting the weight of the body
Free Hand - The hand not doing anything
Hop - To spring from one foot and land on the same foot.
Inside Foot - The foot near’s one partner
Inside hand - The hand near’s one partner
Jump - To spring from one or two feet and land on the other foot
Leap - To spring on the supporting foot and land on the other foot
Outside Foot - The foot away from one’s partner when they stand side by side.
Outside Hand - The hand away from one’s partner when they stand side by side.
Opposite - The person standing opposite across the set
Partner - The girl to the right of the Boy and Boy to the left of the girl
Place - To put the foot (flat) in any desired position without putting weight on it
Set - A unit formation of two or more couples

A. Common Terms for Arms and Hands

Abrasete - This term is of Spanish origin. Girl at the right side of Boy. Holds his R
arms with her L hand, free hands down at the sides.
Bilao - Hands in front parallel to each other at waist level, elbows close to the
waist, palms down. Reverse the position of the hands with palms up and
down alternately
Hapay - To flourish or offer a handkerchief, a hat or a glass of wine. This is a
Tagalog dance term
Hayon-Hayon - This is a visayan term meaning to place one forearm I front and the
other behind the waist
Jaleo - Partners stand with R (L) elbows almost touching. Using walking or any kind
of dance steps they turn once around clockwise (counterclockwise). This is a
Tagalog term of Spanish origin.
Kumintang - Moving the hand from the wrist either clockwise or in a counter
clockwise direction. This is an Ilocano dance term
Kunday-Kunday - This is similar to kumintang but done twice for every movement
on a faster beat (2 kunday in 1 measure).
Masiwak - To turn the hand from the wrist half-way clockwise then raise and lower
wrist once or twice. This is an Ibanag term

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Arms in Lateral Position - To place both arms on one side of the body either right
or left side. In can be done on chest, shoulder, and waist line.
Salok - To scoop or swing the arm downward, upward in front of the body, the
trunk following the movement of the scooping arm. Free hand in 5 th position
or holding skirt. This a a tagalog term.
Sarok - Cross the (R) foot in front of the L foot, bend the body slightly forward and
cross the hands down in front R (L) over L (R). This is a Visayan term.

B. Common Movements of the Foot or Steps

Pivot - Turning on ball, heel of one or both feet on a fixed place. There are pivot
with a point, pivot turn and cross pivot.
Slide - To glide the foot forcibly on the floor with or without transfer of weight.
Stamp - To bring down one foot forcibly on the floor with or without transfer og
weight
Step - With the weight on one foot, shift the weight into the other foot
Supporting foot - The foot carrying the weight of the body
Tap - Toe or ball of foot is placed momentarily on floor and lifted again
immediately.
Touch - See point
Whirl - To turn fast by executing small steps in place to right of left.
Panadyak - To Stamp in front or at the side with same foot close to the l foot (R)
weight of the body on l foot. This is a Tagalog term

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Lesson 3:

Note Values and Note Patterns

Learning Outcome:
Determine and familiarize the note values and note pattern.

A knowledge of the values of notes and note patterns is important because

it facilitates to a great extent the attainment of rhythmic skills.
Values of Notes in 2/4; ¾; and 4/4 Time
Note Name Beats

Whole note 4 beats

Half note 2 beats

Quarter note 1 beat

Eighth note ½ beat

Sixteenth note ¼ beat

Note patterns and Counting

2/4 Rhythm ¾ Rhythm 4/4 Rhythm

1 2 1 2 3 1 2 3 4

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1 and 2 and 3

1 and 2 1-2 3-4

1 2 and 1 2 and 3 1-2-3-4

1 and 2 and 1 and 2 3 1-2 3 4

1-2 1 2 3 and 1 2 3-4

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Lesson 4:

Fundamental Dance Steps in 2/4 and 3/4

Time Signature

Learning Outcomes:
1. Discuss and recognize the different time signature and dance pattern.
2. Identify and familiarize the common dance steps in 2/4 and 3/4 time
signature

A. Traditional Folk Dance Steps In 2/4 Time Signature

The dance steps used in Philippine traditional dances are combinations of
the basic natural movements. Listed below are the dance steps in 2/4 time which
are grouped according to note patterns and their corresponding counts as
suggested by the number of movements.

A. Note Pattern I I = 1 measure

Count 1 2

1. Touch Step Point R (ct.1); close R to L (ct.2)

2. Bleking Step Place R heel forward R (ct.1); close R to L (ct.2)
4. Cross Step Step R (ct.1); cross step L across R (ct.2)
5. Hop Step Step R (ct.1); hop on R (ct.2)
6. Brush Step Step R (ct.1); brush L (ct.2)
7. Slide Step Slide R (ct.1); slide L to R (ct.2)
8. Swing Step Step R (ct.1); swing L across R (ct.2)

B. Note Pattern I I = 1 measure

Count 1 and 2

1. Change Step Step R (ct.1); close L to R (ct. and), step R (ct.2)

2. Cross Change Step Cross step R across L (ct.1); close L to R (ct. and); step R
(ct.2)

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3. Contraganza Leap R to swd R (ct.1); cross step L across R (ct. and); step R (ct.2)

C. Note Pattern I I = 1 measure

Count 1 2 and

1. Habanera Step Step R (ct.1); close L to R (ct.2): step R in place (ct. and)

D. Note Pattern I I = 1 measure

Count 1 and 2 and

1. Plain polka Step R (ct.1); close L to R (ct. and); step R (ct.2); pause (ct.2)

B. Traditional Dance Steps In 3/4 Time

Listed below are the basic dance steps in 3 time that are grouped according
to note patterns and their corresponding counts as suggested by the number of
movements.

A. Note Pattern I I= 1 measure

Count 1 2 3

1. Waltz step Step R (ct.1); close L to R (ct.2); step R in Place (ct.3)

2. Cross Waltz Cross-step R across L (ct.1); close L to R (ct.2); step R in
place (ct.3)
3. Waltz Balance Step R (ct.1); close L to R and raise both heels (ct.2); heels
down (ct.3)
4. Redoba Slide R in second position (ct.1); cut R with L (ct.2); cut L
with R (ct.3)
5. Mazurka step Slide R (ct.1); cut R with L (ct.2); hop L and swing R
backward in front of L (ct.3)
6. Step-Swing-Hop Step R (ct.1); swing L across R in front (ct.2); hop on R (ct.3)
7. Step-Brush-Swing-Hop Step R (ct.1); brush L and swing (ct.2); hop R (ct.3)

B. Note Pattern: I I = 1 measure

Count 1-2 3

1. Touch Step Point R (ct.1-2); close L to R (ct.3)

2. Bleking Step Heel place R (cts.1-2); close L to R (ct.3)
3. Close Step Step R (cts.1-2); close L to R (ct.3)
4. Slide Step Slide L (cts.1-2); close L to R (ct.3)

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5. Cross Step Step R (cts. 1-2); cross step L across R (ct.3)

6. Hop step Step R (cts. 1-2); hop on R (ct.3)
7. Brush Step Step R (cts.1-2); brush L (ct.3)
8. Swing step Step R (cts. 1-2); swing L across R (ct.3)

C. Note Pattern: I I I = 2 measures

Count 1-2 3 1 2-3

1. Sway Balance with a point Step R (cts.1-2);cross-step L across R (ct.3); step R

bckd (ct.1); point L in front (ct.2-3)
2. Sway Balance with a raise Step R (ct.1-2); cross-step across R (ct.3); step R bckd
(ct.1); raise and swing left L in front (ct.2-3)
3. Sway Balance with a brush Step R(ct.1-2); cross-step L across R (ct.3); step R bckd
(ct.1); brush L frd (ct.2-3)
4. Sway Balance with a hop Step R(cts.1-2); cross-step L across R (ct.3); step R
(ct.1); hop on R (cts. 2-3)
5. Sway Balance with a close Step R (cts.1-2); cross-step L across R (ct.1); step R
bckd (ct.1); close L to R (cts.2-3)
6. Engano with a close Step R swd (cts. 1-2); cross-step L across R (ct.3); step
R swd (ct.1); close L t R (cts.2-3)

D. Note Pattern I I= 1 measure

Count 1 and 2 and 3 and

1. Mincing Steps With feet in 5th position and heels raised, take as many tiny
steps. Swd. ( 1 step on every count)
2. Shuffling steps With feet flat on floor, make small slides frd. (1 slide on
every count)
3. Chasing steps With one foot leading, execute successive close steps to any
direction.

E. Note Pattern I I I =2 measure

Count 1 and 2 3 1 and 2 3

1. Kuradang step Step R (ct.1); close L to R (ct. and); step R diagonally fwd
(ct.2); cross-step L across R (ct.3); step R diagonally bkwd R
(ct.1); close L to R (ct. and); step R (ct.2); point L (ct.3)

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Lesson 5:

Philippine Folk Dances

Learning Outcomes:
1. Interpret the literature of the dance “Cariñosa”.
2. Perform the dance “Cariñosa” correctly and with grace.

Folk Dance Proper

Note: Simplified Rules in Folk Dance

1. Tell the name of the dance and the country where it originated. Mention
also what kind of dance it is, whether it is festival, wedding, courtship, war,
etc.
2. Give the historical background in relation to the origin, if there is any,
customs, traditions and modes of life and mood of the people who
originated it.
3. Let the students hear and enjoy the music and analyze it in respect to
tempo (slow, fast, lively, etc. mood or feeling (gay, sad, etc.) phrases and
parts of music (one, two, etc.), time signature.
4. Let them clap their hands, or beat the rhythm, accent, etc.
5. If there is a song accompanying the dance, teach the words of the students.
6. Intricate or new steps that have not yet been learned should be thought
first before taking up the dance. Be sure to give the name of the steps so
that the students will be familiar with the terminology. Explain and
demonstrate the steps, when necessary, let them try the steps with the
teacher, then alone by themselves.
7. Put the class into formation for the dance.
8. Difficult steps or figures done with partners, may be practiced individually
first, facing front or the teacher before trying it with the partner.
9. First teach the figure I and II, after which proceed to another figure. Always
review the old step or figure before taking up new steps or figures to
preserve the continuity of the dance.
10. Perform the whole dance and repeat open enough to be enjoyed.

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11. Follow the written instructions of the dance as closely as possible.

12. Students should be made to feel the music or should understand the dance
to be able to give the right expression and interpretation.

CARIÑOSA

The title denotes an affectionate, amiable, and romantic girl. This dance
portrays the different ways of tender loving attention and concern for a loved one.
There are as many versions of this dance as there are regions which have
their own way of expressing their tender feelings and romantic gestures. This
version has been found to be the most common.

COSTUME; Girl - Balintawak style or long patadiong or camesa: a fan hangs at

right side of the waist.
Boy - barong Tagalog and colored pants with a handkerchief inside
pocket.
MUSIC: ¾ rhythm and composed of 2 parts A and B

FORMATION audience
X < ---------------------> O
6’

INTRODUCTION
Music Introduction.
Partners face each other.
Execute a three-step turn right in place and bow to each other. Girl holds
skirt, Boy places hands on waist 2 M
-I-
Three Steps and Point
Music A
(a) Starting with R foot, take three steps sideward right (cts. 1, 2, 3). Point L
foot in front (cts. 1, 2, 3). R hand inverse "T" position and L hand on waist.
Kumintang R hand pointing L foot . . . . . . . . . . . . . . . . . . . . . . . . . .
2M
(b) Repeat (a) starting with L foot and moving sideward left. Reverse position
of hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2M

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(c) Repeat (a) and (b), three more times . . . . . . . . . . . . . . . . . . . . . . . . .

4M
- II -
Pointing

Music B
Partners face each other. Throughout this figure, Girl holds skirt and Boy places
hands on waist.
(a) Starting with R foot, take three steps forward to meet at the center (cts. 1,
2, 3). Step L close to R (ct. 1), pause (cts. 2, 3) . . . . . . . . . . . . . . . . . 2M
(b) Take four touch steps in front, R and L alternately. Look at each other . .
4M
(c) Starting with R foot, take four steps forward to partner's place, passing each
other by R shoulder (ctgs. 1, 2, 3, 1) . . . . . . . . . . . . . . . . . . . . . . . . .
2M
(d) Repeat all (a-c), finish in proper places . . . . . . . . . . . . . . . . . . . . . . .
3M
- III -
Back-to-Back
Music A
(a) Partners meet at center as in figure II (a) (cts. 1, 2, 3, 1). Turn right about
to be in back-to-back position a little bit to right of partner (cts. 2, 3). Girl
holds skirt, Boy places hands on waist . . . . . . . . . . . . . . . . . . . . . . . . . .
. . 2M
(b) Point R foot in front and shake R index finger at partner over R shoulder L
hand on waist (cts. 1, 2). Step R sideward to be side by side with partner by
L shoulder, place R hand on waist (ct. 3). Repeat three more times, pointing
L, R, L and shaking L, R, L index finger alternately at partner. Partners are
standing by each other's R shoulder when shaking R index finger to partner
and by L shoulders when shaking L index finger to partner. Free hands on
waist (3M) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4M
(c) Turn right about and exchange places as in figure II (c) . . . . . . . . . . . . .
8M
- IV -
Hide and Seek with Fan
Music B

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(a) Partners meet at center as in figure II (a) . . . . . . . . . . . . . . . . . . . . .

2M
(b) Girl — Hold and open fan with Rhand. Point R foot in front and cover face
with -fan, L hand holding skirt (cts. 1, 2), Step R close to L and put R hand
down (ct. 3). Repeat the same three more times, pointing L, R, L. Cover
face with fan on cts. 1, 2 of every measure (3 M). Boy in the meantime,
points R and L foot alternately in front and looks at partner underneath the
fan. Hands on
waist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4M
(c) Exchange places as in figure II (c) . . . . . . . . . . . . . . . . . . . . . . . . . . . 2M
(d) Repeat all (a-c), finishing in proper places . . . . . . . . . . . . . . . . . . . . . 8M
-V-
Kneeling and Fanning
Music A
(a) Starting with R foot, take three steps forward to center. Girl holds skirt, Boy
places hands on waist (cts. 1, 2, 3). Girl — Kneel on R while Boy passes
around on right of Girl to stand behind her and faces the same direction as
Girl. Partners place hands on waists (cts. 1, 2,
3) . . . . . . . . . . . . . . . . . . . . 2M
(b) Boy — Point R and L foot four times alternately in front, looking at Girl over
her R and L shoulder alternately. Girl in the meantime, looks at partner over
her R and L shoulder alternately. Both place hands on waists . . . . . . . .
4M
(c) Boy — Turn right about. Girl stand and exchange place as in figure II (c) . .
2M
(d) Repeat all (a-c), but this time Boy kneels down and Girl fans Boy over his R
and L shoulder alternately as she points her R and L foot alternately. Finish
in proper places . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8M
- VI -
Hide and Seek with Handkerchief
Music B
(a) Partners meet at center as in figure II (a) (cts. 1, 2, 3, 1). Boy takes
handkerchief from pocket. Partners hold handkerchief at corners a
perpendicular position between their faces with Boy's hands on top at face
level (Cts. 2, 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2M
(b) Partners point R and L foot alternately four times as in figure II (b). Invert
handkerchief at every measure, that is, on one measure with Boy's hands on

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top while pointing R foot and the next measure with Girl's hands on top
while pointing with L foot. When own hands are down, look at partners face
from below and when up, look above
handkerchief . . . . . . . . . . . . . . . . . . . 2M
(c) Girl releases handkerchief. Partners exchange as in figure II (c) . . . . . . . 2M
(d) Repeat all (a-c), finishing in proper places. This time Girl keeps
handkerchief at the end of this figure . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . 8M
NOTE: In the Bicol regions the hide-and-seek movement is done with two
handkerchiefs crossed diagonally. Each dancer holds a handkerchief at two corners
which is diagonally folded (triangular form). While the dancers point the R foot,
the R hands are held obliquely right upward and the L hands are obliquely left
downward, thus the handkerchiefs are closed like the letter X in front between
them. The positions of hands are reversed when pointing L foot. They change
position of hands at every measure. They peep through the opening of the
handkerchiefs above and below alternately. The Girl peeps above with R hands are
up and the boy, when the L hands are up.
- VII -
Flirting with Handkerchief
Music A
NOTE: If one pair is dancing, partners may go to any direction so long as
they finish in proper places at the end of this figure.
(a) Partners turn R shoulders toward each other. Starting with R foot, take
eight waltz step forward moving around clockwise, Girl — Hold handkerchief
at one corner and place it over her R and L shoulder alternately at every
measure, looking back at Boy at the same time. Boy in the meantime
follows behind Girl, stretch out R and L hand alternately as if trying to catch
the free end of the
handkerchief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8M
(b) Turn right about and repeat (a) counterclockwise, Girl leads again.
Finish in proper places . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8M
- VIII -
Flirting
Music B
(a) Starting with R foot, take two waltz steps to meet at center. Girls arms in
lateral position moving sideward right and left, boys hands on waist

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(b) With Girl leading in front, partners take six waltz steps forward moving
around clockwise. Same position of hands as in (a) but Girls fingers
fluttering in time with the music as she looks over her R and L shoulder
alternately at Boy who is following her closely . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . 6M
Saludo
Execute a three-step turn right in place and bow to each other with the girl
holding her with her girl holding her skirt and the boy with his hands on his waist.
3M

BINISLAKAN (Lingayen)
Source: Pangasinan Folk Dances Volume 1
By: JOVITA SISON FRIESE

Meaning : With the use of sticks

Dance Cultur : Christian lowland
Place of Origin : Pangasinan
Ethnolinguistic Group : Pangasinense
Classification : Courtship

Background/Content
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 in the place of long time ago. The
barrio folks who lives at Almazina small place between barrio Pangapisan (Pulong)
and Maniboc danced, this to commemoratethe 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 two
chopsticks used by the Chinese in eating, so the dance is also called Binislakan,
which in Pangasinan means with the use of sticks.

Dance Properties:

Costume
Female: Siesgo and kimono with loose and long sleeves and soft
panuelo
Male : Camisa de Chino and red pants
Music : 2/4 Com posed 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.

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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 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. Strikes 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; strikes sticks backward right R, L, R (cts.
1 and 2); look backward right . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1M
d) Straighten trunk and stamp foot R, L, R (cts. 1 and 2). Strikes 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 time
step R foot sideward four times, step on R foot with springy movements like
small leap; bend trunk slightly sideward right; R hand bend in front in 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 left foot in front two times; bend truck toward that foot and strikes
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 (ct. 2) . . . . . . . . . .
1M
c) Repeat (b) with R foot, bend trunk forward R foot . . . . . . . . . . . . . . . .
1M

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d) Repeat (a-c), in reverse direction and position . . . . . . . . . . . . . . . . . .

4M
e) Face partner and repeat (a-d) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8M

- 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 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)
a. Raise right knee and strike sticks once under it.(ct.1) Straighten knee feet
b. Together and strike sticks once in front (ct. and) raise L knee and strikes
sticks
c. 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 ang Girl do their movements simultaneously
Girl:
a. Starting with R foot, execute eight change step going clockwise around boy
strikes sticks overhead and at the back alternately three times to a measure
strikes sticks R, L, R (cts. 1 and 2). Bend trunk forward when striking 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:

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a. Kneel on both knees and strikes sticks on the floor at the right side three
times (cts. 1 and 2); strikes sticks overhead three times upward (1M); strike
sticks at the left side on the floor three times (1M); strikes 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
-V-
Music A
Partners face audience
a. Take one change step sideward right (cts. 1,2) raise L foot above the floor in
(ct.2)bend trunk sideward right and strikes sticks to sideward right three
times to a measure R, L, R. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1M
b. Repeat (a) three times more, to sideward 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 strikes sticks on floor in front, full knee bending R knee
lower than L knee (cts. 1, ah, 2, and) . . . . . . . . . . . . . . . . . . . . . . . . 1M
d. Stand, Straighten trunk, and strike sticks R, L, R, L, in front (cts. as
in(c)) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . 1M
e. Step right foot forward (ct.1) hop on right 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. 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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-f), facing partner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4M

- VI -
Music B.
a. Starting with R foot, execute with 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); bend
trunk forward and strike sticks in front L, R, L (cts. 1 and 2) . . . . . . . . . 2M
b. Starting with R foot, execute six change step right and left alternately,
going around clockwise. Strike sticks as in (a) Finish in circle facing
center . . . . 6M
c. Starting with R foot, take four change step going toward center. Strike
sticks as in
(b) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4M
d. Repeat ( c ) , going backward; finish facing right . . . . . . . . . . . . . . . . .
4M

SALUDO

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Music Finale
a. Execute mincing steps going counterclockwise; finish in line formation
facing audience as in Figure 1. 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 strikes sticks overhead R, L, R (cts. 1 and 2), Look
upward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1M
c. Mincing steps, turning R slowly; finish facing audience, sticks are still
crossed overhead and looking upward . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . 3M
d. Feet together, bend trunk forward, bringing down the crossed sticks below
knee. Sticks touch floor in the last count . . . . . . . . . . . . . . . . . . . . . .
1M

TUPAY-YA
Source : By: DR. PAZ CIELO A. BELMONTE
Baranggay Philippines Folk Dance Company

Maening : Celebration
Dance Culture : Highland
Place of Origin : Kalinga, Cordillera Region
Ethnolinguistic Group : Visayan
Classification : Wedding Dance

Background/Content:
The canao is a prestige feast which the wealthy among the Kalinga
celebrate at least once a year on very special occasions like birth, courtship
marriage, victory or death, or any special event. The wealthier the headman the
longer the “canao” it may last for one day to one week. Tupay-ya is a wedding
dance held after a brave warrior win in a battle for the hand of the maiden he
loves. This is a dance reseach together with my student major in Physical
Education at the University of Santo Tomas, Miss Christine Rivera.

Dance Properties:

Costume :
Female: Native woven skirt called kain or gatong, bound tightly
at the waist by a ceremonial belt called wakes with a
loose white blouse with sleeve called silop or sleeveless
blouse called putot.
Male: “G”-string with a ballake or kinawet, an Igorot style
basket hat.
Hand Props : Kalinga Blanket (Silanbituon)
Music : 2/4

PHED 103 – Dances Module II

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Count : 1, 2, 3, 4, to a measure, 1, and 2 or 1 and 2 and 3 or

Pause. 1 and 2.
Basic Steps : Skip steps
Bouncy tortiller step done by jumping, hop on one foot
and Drag the other foot.
-I-
1 and 2 and 1 and 2 and 1 and 1 and 2 and

Boy and Girls:

a. Take 4 skip steps forward to center hold big kerchief with both hands to the
right side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2M
b. 4 bouncing tortiller steps to the right kerchief on the left side (2M). Repeat
to left, reverse arm movement (2M) . . . . . . . . . . . . . . . . . . . . . . . . . 4M
c. 4 skip steps to exchange places passing by the right shoulders and finish
facing each other again . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2M
d. Repeat (a) to (c) to return to places . . . . . . . . . . . . . . . . . . . . . . . . .
8M

- II -
Same Rhythm
a. Take 4 skip steps forward to center (2M), 2 skips backward (1M), 2 skips
forward turning and boy flip big cloth over the head of the girls as they
meet at center (1M) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . 4M
b. 2 skip forward to opposite place and turn about doing to bouncing tortiller
steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4M
c. Repeat (a) and (b) back to places . . . . . . . . . . . . . . . . . . . . . . . . . . . 8M

- III -
Boy Place blanket on right arm and face left, right shoulder toward girl

a. Take tortiller step sideward towards the girl, while girl does it in place.
When the boy is near the girl because he extends his right arm as if to offer
the blanket to the girl. Girl extends arms but quickly withdraws as if in
hesitation and boy skip back to original place . . . . . . . . . . . . . . . . . . . . .
. . . . . 8M
b. Repeat (a) once more and when girl refuses to accept boy withdraw away
farther, meanwhile the community starts chanting as if the cheer and beg
the girl to accept the token as proposal . . . . . . . . . . . . . . . . . . . . . . . . .
. 8M

- IV -
Rhythm
PHED 103 – Dances Module II
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1 2 3 4

Boy take 4 slow steps forwards the girl and skip forward and back on the right side
of the girl, girl about, boy skips steps on the left side of the girl: and girl turns
about. Boy skips back to place . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . 8M

- IV -
Boy places blanket on both forearm do a bouncing tortiller forward as if to implore
the girl, girl extends both arms forward to receive the token. By thrust the token
on the girls forearm shout out a “victory” and exists with the girl following closely
behind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8M

 MODULE SUMMARY

In module II, you have learned about the Philippine folk Dance.
There are 5 lessons in module II. Lesson 1 consists of 3 parts about the
history, classification of Philippine Folk dances and Benefits of folk dancing.
Lesson 2 deals with the dance terms common to folk dance which consists of
two components, common terms for arm and hand and common movements of the
foot or steps.
Lesson 3 is about the Note Values and Note patterns.
Lesson 4 talks about the fundamental dance steps in 2/4, ¾ and 4/4 time
signature.
Lesson 5 presents the folk dance proper.
Congratulations! You have just studied Module II. now you are ready to
evaluate how much you have benefited from your reading by answering the
summative test. Good Luck!!!

PHED 103 – Dances Module II