APPLIED ICT and PE CLUSTER

SCHOOL YEAR 2022 - 2023

PHYSICAL EDUCATION
AND HEALTH
PEO1
Course Outcome 4
Quarter 02

Prepared by:
Panguito,Ma. Czarina M.

PE01 | INTRODUCTION OF DANCES| CO4

E-mail address: shs@mapua.edu.ph
Telephone number: (02) 8247 - 5000
PE01| INTRODUCTION OF DANCES

NAME: ____________________________________ TEACHER: ________________________

YEAR AND SECTION: _______________________ SCHEDULE: _______________________

Dan
Lesson DANCE
4
Introducti PHILIPPINE FOLK DANCE

COURSE OUTCOME BULLETIN

Objective: In this module, we will learn to foster patriotism and nationalism through the study
of our dances. To arouse better appreciation of Philippines music and folk dances. To provide,
through dancing, a helpful form of relaxation and recreation. To develop a graceful and
rhythmic coordination of body movements that will improve posture

Subject Matters:
Lesson 1. Nature of Different dances

a. Historical Background
b. Warm –up (line dance)

Lesson 1.1. Introduction of Philippine Folk dance.

a. Basic Dance Steps
b. A.Traditional (folk and ethnic)

Learning Competencies:
I. Distinguishes aerobic from muscle-and bonestrengthening activities.
II. Realizes one’s potential for Skill -and fitness related career opportunities.
III. The student will be able to understand the generalstructure and function of the
human body.

PE01 | INTRODUCTION OF DANCES | CO4 2|P a g e

PE01| INTRODUCTION OF DANCES

Evaluation:
Performance Task: Practical test

Written Work: Long Quiz 4 Blackboard

Pre-test:
Direction: Circle your answer.
1. Francisca Reyes AquinoExercise while the body is able to supply oxygen
a. A National Artist For Dance(1973)given by Ramon Magsaysay for "Outstanding
contribution toward the advancement of Filipino culture".
b. A Filipino folk dancer and academic noted for her research on Philippine folk dance.
c. Both correct
2. A Dance category performed as part of the rituals and ceremonies of a certain tribe
or group of people.
a. Ritual dance
b. Mimetic dance
c. Historial
3. What is Folk Dance?
a. Dances that exhibit the customs, ideas, beliefs, superstitions and events of daily
living in certain Filipino community
b. Dances that are either religious or secular and relate to the celebration of
recurring events of special significance
c. Dances that serve as ritual as one passes to a different stage in life; includes
courtship, wedding and funeral dances
d.
4. Festival Dance
a. Dances that are either religious or secular and relate to the celebration of
recurring events of special significance
b. Dances that serve as ritual as one passes to a different stage in life; includes
courtship, wedding and funeral dances
c. Dance from Surigao; an example of a mimetic dance as it imitates the
movements of a duck.
5. Both arms are raised above the head with rounded elbows. Right heel close to the
left big toe.
a.fifth position
b.fourth position
c.3rd podition

PE01 | INTRODUCTION OF DANCES | CO4 3|P a g e

 PE01| INTRODUCTION OF DANCES

Dance
In this section we will study about increased movement skills, concentration and physical
control in performing movement for artistic expression.

Dance is masterful movement in a rhythmically coordinated, and expressive way. It is a vital

part of a child's movement education. When students apply the aspects of the movement
framework to create dance sequences they are learning how to dance.

Philippine dance has played a tremendous role in Filipino culture. From one of the oldest
dated dances called the Tinikling, to other folkloric dances such as the Pandanggo, Cariñosa,
and Subli, and even to more modern-day dances like the ballet, it is no doubt that dance in
the Philippine setting has integrated itself in society over the course of many years and is
significantly imbedded in culture. Each of these dances originated in a unique way and serve
a certain purpose, showcasing how diverse Philippine dances are

TYPES OF DANCES BY ETHNIC GROUP

Igorot

The following are various indigenous dances of the major ethnic groupings of the Philippines
There are six Igorot ethnolinguistic tribes living in Luzon's mountain terrains: the Bontoc,
Ifugao, Benguet, Apayo, and the Kalinga tribes, which retained much of their anito religions.
Their lives have been centered on appeasing their gods and maintaining a harmonious
relationship between spirits and man. Dances are usually linked to rituals for a good harvest,
health, prayers for peace, and safety in war.
Type of Dance Origin Tribe Purpose
One popular contemporary performance in the
Philippines is named after the
large banga pots. This performance originated
in the province of Kalinga of the Mountain
Banga Kalinga
Province. As many as seven or eight pots are
balanced on the heads of maidens as they
move to the beat of the gangsa, a type of gong,
while they go about their daily routine of

PE01 | INTRODUCTION OF DANCES | CO4 4|P a g e

 PE01| INTRODUCTION OF DANCES

fetching water while balancing the banga. This

is why the tribesmen are known as fierce
warriors.
The Bendayan, which is also referred to as
Bendian, is a dance that was adapted from the
tradition of the Benguet Mountain Province in
Benguet
which hunters are honoured. Although it is an
Bendayan Province,
adaptation or rendition of the original, it is still
Northern Luzon
included in each festivity in Benguet and its
significance remains preserved. Furthermore,
the circles lead to an unambiguous meaning.
Manmanok is a dance that dramatizes three
roosters from the Bago Tribe who compete
against one another to be able to get the
Manmanok Bago
attention of a hen, Lady Lien. They try to
attract her by making use of blankets that
depict their feathers and wings.
Tachok is a Kalinga Festival Dance that is
performed by unmarried Kalinga women who
imitate the movement of the flight of birds as
they move through the air. People come
Lumagen/Tachok Luzon Kalinga together and perform this dance to celebrate
their birth first-born baby boy, weddings, or
people who are able to make peace with each
other. This dance is accompanied with music
with the use of gongs.
The word Gaddang originated from the
combination of two words which are “ga”,
meaning heat, and “dang” which is to burn.
The Gaddang people live in the center of
Cagayan Valley. Furthermore, some of their
groups have resided in Isabela, Kalinga, and
Eastern Bontoc. They are mostly Christian, and
are agricultural in nature. Those that have
Turayen Cagayan Valley Gaddang
resided in the areas stated mostly preserved
their culture which is rooted in indigenous
and swidden agricultural traditions. For an
instance, they commonly practice the burning
of existing crops to construct short-term plots
for farming. Additionally, they also practice
hunting and fishing. In the Gaddang dance, the
people emulate the movements of birds that

PE01 | INTRODUCTION OF DANCES | CO4 5|P a g e

 PE01| INTRODUCTION OF DANCES

are drawn to tobacco trees.

Tarektek dramatizes two male tarektek
woodpeckers who try to get the attention of
three females. The first woodpecker tries
doing this by showing his good voice. This was
portrayed by the banging of a brass gong. On
Tarektek Benguet
the other hand, the second tries impress the
females by showing off his feathers. This was
portrayed by the use of colorful blankets that
are moved around in bird like movements.

The Salidsid, or the “cayoo dance”, is known as

a romantic dance in which a male courts a
female. That being said, it is commonly
performed with one male and a female dancer.
It starts with each of the dancers holding an
“ayob” or “allap” which is a small cloth.
Customarily, the most powerful people in the
village are in the dance following the host's
Salidsid Kalinga
signal of the opening of the affair. Both the
context and the significance of the dance are
apparent. Additionally, the male imitates a
rooster that is attempting to gain attention
from a hen which is represented by a female
dancer. On the other hand, the female dancer
imitates the gestures of a hen that is being
orbited by a rooster.
Tribes from the mountain provinces in Luzon
give great importance to their identity.
Thanksgiving, birth, wedding, and victory in
war among others, are some things that these
people celebrate through the art of dance. The
Kalinga wedding ritual, to be particular, is a
Salip Kalinga dance wherein a bride is offered protection
and comfort by the groom. The man tries to
show his love by imitating the movements of a
rooster. Meanwhile, the bride's friends
prepare “bangas” (earthen pots) that contain
fresh water from the mountain spring to offer
to the groom.
Ragsaksakan dance portrays the walk of the
Ragsaksakan Kalinga
industrious Kalingga women who climb up

PE01 | INTRODUCTION OF DANCES | CO4 6|P a g e

 PE01| INTRODUCTION OF DANCES

the rice terraces in the Mountain Provinces of

the Philippines. They carry pots that are placed
above their heads. They also wear small hand
woven blankets around their necks which
represent the “blankets of life.”
Coined from the word ipugao meaning
“coming from the earth” is the term Ifugao,
pertaining to the people of the province who
are called to be the “children of the earth.” As
well as to the province itself, according to the
Uyauy/Uyaoy Ifugao Spaniards. Those who belong to the wealthy
class, the Kadangyans, have the privilege to
use the gongs that are used at the wedding
festival dance. The same dance is performed
by the people who desire to reach the second
level of the wealthy class.

3 TYPES OF DANCES BY ETHNIC GROUP

Definition 1.2 MORO

The Moro people are the various usually unrelated Muslim Filipino ethnic
groups. Most of their dances are marked by intricate hand and arm
movements, accompanied by instruments such as the agong and kulintang.

Type of Dance Origin Tribe Purpose

The Panglay, a dance native to

the Badjaos meant to highlight
Zamboanga the power of the upper body, is
Pangalay Badjao
del Sur executed through the rhythmic
bounce of the shoulder  while
simultaneously waving the

PE01 | INTRODUCTION OF DANCES | CO4 7|P a g e

 PE01| INTRODUCTION OF DANCES

arms. Most times, this dance is

performed in social gatherings
like weddings.

Burung Talo is a dance  in the

form of martial arts. Performers
portray a battle between a hawk
and a cat. This dance is
Burung Talo Tausug
accompanied with lively beats
from gongs and drums as the
performers do acrobatic
movements.

The Asik is solo dance

performance portrays an
unmarried young woman who
tries to gain the approval and
support of her sultan master.
She can dance for two reasons.
The first is to try to win the heart
Lanao del
Asik Maguindanao of her master and the second is
Sur
to be able to make up for a
mistake she has done. In this
dance, the performer dances
and poses in doll like motion
sand is dressed with fine beads,
long metal finger nails, and
heavy make up.

Singkil is a Filipino dance that

Lanao, narrates the epic legend of
Singkil Marano “Darangan” of the Maranao
Mindanao
people of Mindanao. This 14th
century epic is about  Princess

PE01 | INTRODUCTION OF DANCES | CO4 8|P a g e

 PE01| INTRODUCTION OF DANCES

Gandingan getting trapped in

the forest during an earthquake
that was said to have been
caused by the forest nymphs or
fairies called diwatas. The name
“Singkil” is derived from the
bells worn by the Princess on
her ankles.

The dance uses props that are

representative of the events in
the epic.  The  criss-crossed
bamboos are clapped together
to signify the falling trees the
Princess gracefully dodges as
they fall while her slave follows
her around. The Prince then
finds her and the other dancers 
begin to dance slowly and
progress to faster tempo with
fans or their hands moving in a 
rhythmic manner which signify
the winds in the forest. With
skillful handling of fans, the
dancers cross the bamboos
precisely and expertly. In Sulu,
Royal Princesses are required
to learn the dance. The Royal
Princesses in the dance,
specifically in Lanao are usually
accompanied by a waiting lady 
holding an elaborately
decorated umbrella on her head
and follows her as she dances.
Tahing Baila Yakan Tahing Baila is a Yakan dance,
a low land tribal Philippine folk
dance, in which it tries to imitate

PE01 | INTRODUCTION OF DANCES | CO4 9|P a g e

 PE01| INTRODUCTION OF DANCES

movements of fish.

From the highlands of

Mindanao, is a Musim ethnic
group called the Yakan. They
are known to wear body-
hugging elaborately woven
costumes. One of their popular
Pangsak Basilan Yakan dances, called Pangsak,
involves a man and his wife
performing complicated hand
and foot movements while their
faces are painted white to hide
their identity from evil spirits.

To imitate the movements of the

beautiful southern boat
(the vinta) with colorful sails
Panglay ha which journeys through the Sulu
Badjao
Pattong Sea, the Panglay ha Pattong is
a dance performed by a royal
couple that balances on top of
bamboo poles.

Panglay sa Agong is a dance

that portrays two warriors who
Panglay sa Tausug- try to gain the attention of a
Agong Sulu young woman. By banging on
gongs, it was the way they
showed their courage and skills.

Pagapir Lanao del Maranao Maranao people from the

Sur around the Lake Lanao have a
royal manner of “walking” called
the Pagapir. The ladies of the

PE01 | INTRODUCTION OF DANCES | CO4 10 | P a g e

 PE01| INTRODUCTION OF DANCES

royal court perform this dance

for important events and to
show their good upbringing. It
involves a graceful manipulation
of the Aper (apir) or fan while
doing the “Kini-kini” or small
steps.

Sagayan is a dance often

performed before celebrations,
and to get rid of bad spirits and
to welcome good ones. The
performers are fierce warriors
who portray movements that
depict a warrior trying to protect
his master in battle. This means
that many acrobatic movements
Sagayan Cotabato Maguindanao
are involved in this dance. They
carry a shield on one hand and
a kampilan on the other, a
double-sided sword made of
either wood or metal. These
dancers also wear bright
colored materials for their three
tiered skirts, toppers and
headgear.

Kapa Malong Malong, also

known as Sambi sa Malong, is a
dance that shows how
the malong can be used or
Kapa Malong worn. A malong is a hand
Malong woven piece of cloth that is
tubular that can come in many
colors. For women, they usually
make use of it as a skirt, shawl,
mantle, or headpiece. On the

PE01 | INTRODUCTION OF DANCES | CO4 11 | P a g e

 PE01| INTRODUCTION OF DANCES

other hand, for men, they make

use of it as a sash, waistband,
shorts or bahag, and headgear
for the fields or as a decorative
piece.

1.4 TYPES OF DANCES BY ETHNIC GROUP

Definition 1.3 LUMAD

The non-Islamized natives of Mindanao are collectively known as the Lumad
people. Like the Igorot, they still retain much of their animistic anito religions.

Type of Dance Origin Tribe Purpose

The Kuntaw, which originates

from the Malay word meaning
Kuntaw T’boli “fist”, is one of Mindanao's best-
kept secrets. It is a martial arts
dance that includes gestures of
the fist, accompanied by other

PE01 | INTRODUCTION OF DANCES | CO4 12 | P a g e

 PE01| INTRODUCTION OF DANCES

actions like jumps, kicks, and

knee bends.

The tribe of T’boli is located in a

place where there are vast
amounts of wildlife, most
especially birds. Kadal Taho,
also considered as the “True
Dance of the T’boli,” is a story
about a flock of sister birds who
Lake Sebu,
left to look for food and ended
Kadal Taho South T’boli
up getting lost. During the
Cotabato
journey, one of the sisters
injures her leg and is unable to
fly. With her flock by her side,
motivating her and supporting
her, she was able to fly again
and they were able to get home
safely.

Kadal Blelah is a tribal dance

Lemlosnon, wheres dancers try to simulate
Kadal Blelah T’boli
Cotabato and imitate the different
movements of birds.

Binaylan Higaonon Bagobo The Binalayan dance emulates

movements of a hen, her baby
chicks and a hawk. The hawk
has always been seen and
symbolized as that which has
power over the welfare of the
entire tribe. Although, one day,
the hawk tried to get one of the
baby chicks which led to the

PE01 | INTRODUCTION OF DANCES | CO4 13 | P a g e

 PE01| INTRODUCTION OF DANCES

hawks death for it was killed by

hunters.

Bagobo Rice Cycle, also known

as Sugod Uno, is a tribal dance
which portrays the rice
production cycle. This includes
the prepping the land, planting
Bagobo Rice Cycle Davao del Sur Bagobo
rice, watering the rice, and
harvesting it. This dance also
portrays rituals to say thank you
for the rice that they were able
to harvest.

Dugso Bukidnon Talaindig Performances such as a

sacrifice dance rite exists in
provinces wherein religion is
given the highest regard, such
as the Higaonon of Bukidnon
province in Mindanao place.
“Dugso” is performed as a form
of thanksgiving for good
harvest, healing of the sick and
for the community's overall well
being. It is also used to get rid
of bad spirits, to give luck for
victory in battle and used during
the blessing of the newly
opened field. Their costumes
are compared to that of the
pagpagayok bird because of the
colourful headdresses and the
bells wrapped around their
ankles which is considered as

PE01 | INTRODUCTION OF DANCES | CO4 14 | P a g e

 PE01| INTRODUCTION OF DANCES

the “best music” to the spirits.

Kadal Heroyon, also known as

the dance of flirtation, is
performed by T’boli girl
Lake Sebu, adolescents qualified to get
Kadal Heroyon South T’boli married. Beautification, which
Cotabato was held of high importance in
the tribe, is portrayed through
movements that would imitate
how birds flew.

Karasaguyon is a tribal dance

that portrays a story of four
sisters who try to get the
attention of a polygamous man
Lake Sebu, who is choosing his next wife.
Karasaguyon South T’boli This dance is accompanied with
Cotabato music from the sounds of the
beads and bells as they clink
against each other which are
wrapped around the waists and
ankles of the performers.

Kinugsik Kugsik Santa Maria, Manobo The Kinugsik Kugsik tries to

Agusan del imitate the friendly and
Norte endearing nature of squirrels.
The dance portrays an issue of
love between two male squirrels
and one female squirrel who
run around the forest. They had
created this dance as a
remembrance of the time
wherein the tribe of Manobo

PE01 | INTRODUCTION OF DANCES | CO4 15 | P a g e

 PE01| INTRODUCTION OF DANCES

lived harmoniously with

squirrels who thrived in their
area. They named this dance
as such because they called
these squirrels, “kugsik.”

A lawin, Philippine hawk eagle,

is endemic to the Philippine
region. The lawin-lawin dance
tries to imitate how the eagle
Lawin-Lawin Davao del Sur Bagobo
soars the sky by making use of
shields to represent the wings.
This is performed by males of
the Bagobo tribe.

Sohten was danced before as a

way of asking the gods for
protection and success before
going into battle. This is now
Zamboanga
Sohten Subanon performed by an all males of
del Norte
the Subanon tribe who make
use of shields and palm leaves
to portray this pre-combat
ritualistic dance.

Talbeng, a lively dance

accompanied by a guitarist,
Babuklod,
imitates animals of the region,
Florida
Talbeng most especially the monkeys.
Blanca,
This dance originated from the
Pampanga
Aetas,  also known as the
Negritos.

PE01 | INTRODUCTION OF DANCES | CO4 16 | P a g e

 PE01| INTRODUCTION OF DANCES

The Bangkakawan, a fishing

ritual, originated from the
Tigwahanon Manobos of
Bukidnon. A huge log is carved
Bangkakawan Bukidnon Monobo to replicate the shape of a
palungan (snake) and is used to
making steady beats and
rhythms to make fish dizzy and
less difficult to catch.

Moral Solanay is a dance

performed by indigenous
people of B’laan. This dance is
performed by women who
Southern
Maral Solanay B’laan portray the spirit of a young lady
Mindanao
named Solanay. Through this
dance, they try to show grace,
beauty, and diligence which
Solanay represents.

After a Pagdiwata ritual, the

basal banal dance is usually
performed. This is a traditional
dance of the Palawanons
Basal Banal Palawan Palawanon
wherein they make use of
native balasbas and cloth to
make their movements more
prominent and noticeable.

Well respected Obo Manobo

warriors, called Baganis,
Palihuvoy Manobo
perform this dance which
showcase their skills in fighting.

PE01 | INTRODUCTION OF DANCES | CO4 17 | P a g e

 PE01| INTRODUCTION OF DANCES

Sabay Pengalay is a Subanon

courtship dance that contains
Zamboanga
Sabay Pengalay Subanon pantomimic gestures. It portrays
del Norte
a smitten bachelor who tries to
win the heart of a kerchief.

Siring is a dance performed by

the Lambangian tribe. Their
ancestry is from an
intermarriage between the
Dulangan Manobo and
Siring Maguindanao Lambangians Teduray, two other indigenous
tribes. The siring is a dance that
portrays different activities that
occur in their everyday lives.
These include planting rice and
catching fish.

Sout is a Subanen dance which

aims to be able to showcase a
warriors skill with the use of a
Sout Zamboanga Subanen
sword and shield (k’lasag)
which are covered with different
kinds of shells called blasi.

Talek in a dance usually

performed by Subanen women,
Talek Zamboanga Subanen who hold on to kompas or
rattan leaves, during festivals or
wedding celebrations.

Balisangkad Tagbanau Balisangkad comes from

Madukayan, eastern side of

PE01 | INTRODUCTION OF DANCES | CO4 18 | P a g e

 PE01| INTRODUCTION OF DANCES

Mountain Province. It is a type

of hunting dance in which the
dancers movements imitate
those of an eagle, particularly
the flight of the eagle.

A ritual meant for the rice

harvest, the Pagdiwata was a
nine-day demonstration among
Pagdiwata Tagbanau the Tagbanuas of Palawan to
give thanks. This revolved
around the babaylan or
priestess and her ministrations.

The Sayagan is a dance meant

for courtship wherein a man
asks for a womans hand by
putting his piz cloth on the
Sagayan Tagbanau
ground. For the woman to
answer him back, she must
likewise put her own cloth on
the ground.

Soryano is a courtship dance

that portrays anxious men
holding on to cloths trying to
persuade women to turn around
and face them. Instead, these
Soryano Palawan Tagbanau
women, turn the opposite way
for fun and make the men
chase them.This dance then
becomes a lively and energetic
dance of chase.

PE01 | INTRODUCTION OF DANCES | CO4 19 | P a g e

 PE01| INTRODUCTION OF DANCES

During the tambol, villagers

summon their guiding spirit,
Tambol Tagbanau
Diwata. It is a nine-day ritual of
a babaylan or priestess.

The Kadal Unok is a dance

performed by women that is
depicted through elegant and
fluid movements with the use of
the arms that tries to imitate the
movements of the onus bird.
They performers make use of
heavy make up and
adornments which represents
Lake Sebu, the tribes passion for beauty
Kadal Unok South T’boli and fashion. There passion for
Cotabato beauty and fashion goes as far
as wearing wide brimmed hats
that are highly decorated in the
fields and wearing interlocked
bronze belts, helots, whenever
they walk or dance.

PE01 | INTRODUCTION OF DANCES | CO4 20 | P a g e

 PE01| INTRODUCTION OF DANCES

1.5 TYPES OF DANCES BY ETHNIC GROUP

Definition 1.4 CHRISTIANIZED FILIPINOS

The majority of Filipinos are the Christianized lowlanders of the islands.

Their dances are heavily influenced by the Spanish, though still retaining
native aspects. The dances range from courtship dances, to fiesta (festival)
dances, to performance dances. The traditional attire in these dances
include the balintawak and patadyong skirts for the women, and camisa de
chino and colored trousers for the men.

Trib
Type of Dance Origin Purpose
e

The name Bulaklakan originates from

the numerous flowers that grow in the
area of Bulacan. The dance is
Bulaklakan Bulacan
dedicated to the Virgin Mary performed
widely in the month of May as part of
the celebration of their holy week.

Sakuting Abra Sakuting was originally performed by

male dancers only. It originates from
the province of Abra, performed by
both Ilokano Christians and non
Christians. It depicts a mock fight with
sticks for training and combat. During
Christmas, the dance is performed in

PE01 | INTRODUCTION OF DANCES | CO4 21 | P a g e

 PE01| INTRODUCTION OF DANCES

town plazas or dancers will go door to

door. Spectators give them aguinaldos
(5-piso bills) or refreshments.

For the past centuries, an important

part of peasant social life is the
gathering of peasants who collectively
work together to do labor-intensive jobs
for the community.  Once a week they
would gather to clean the forest, till the
Tiklos Leyte soil, do farm work, etc. Every noon
time, after the peasants have eaten
and started to rest, the Tiklos is usually
performed. When the peasants start to
hear the Tiklos music from the flute,
guitar, guimbal or tambora, they start
dancing the Tiklos together.

Social gatherings in communities call

for customaries that come in the form
of offering wine to guests. The offer is
made by a young lady who chooses a
young man from the guest to dance
with. In accepting a glass of wine, the
young man also accepts dancing with
Abaruray
the lady. It is not advisable to turn
down the offer as it is offensive to the
community's etiquette and the lady. As
they dance, the girl's ability is shown
through balancing the glass of wine
without spilling a drop. The audience
claps with the music.

PE01 | INTRODUCTION OF DANCES | CO4 22 | P a g e

 PE01| INTRODUCTION OF DANCES

In the separation of Loma and Zapote

of Binan, Laguna during the Spanish
regime, the two barrios danced the
maglalatik. The Maglalatik or
Magbabao is a war dance in portrayal
of a fight over prized latik between
Moros and Christians. There are four
parts of the dance, namely, the
Palipasan and Baligtaran, Paseo and
Sayaw Escaramusa. In order, the
former two parts depicts the heated
relationship between the two groups
mentioned previously while the latter
Maglalatik
two parts showcases their
reconciliation. Following the legend, the
Moros won in the fight, but the
Christians, uncontented, sent an envoy
and offered peace and baptism to the
Moros.

The dancers go house to house to

dance the Maglalatik in exchange for
money or a gift. Come night time, the
dancers dance in a religious
procession as an offering to San Isidro
de Labrador, patron saint of the
farmers.
The tinikling is named after
the tikling bird. The dancers imitate the
bird's flight in grace and speed as they
play and chase each other, run over
Tinikling Leyte tree branches or dodge farmer's traps.
The dance is done with a pair of
bamboo poles.
The tinikling dance has evolved from
what is called ‘Tinikling Ha Bayo’ which

PE01 | INTRODUCTION OF DANCES | CO4 23 | P a g e

 PE01| INTRODUCTION OF DANCES

the older people claim to be a harder

dance to perform. Originally, the said
dance was done between bayuhan,
wooden pestles used to pound husks
off of rice grain.
Subli is a famous dance in barrios of
the municipality of Bauan, Batangas. It
is a ceremonial dance performed in
fiestas every May in homage to Mahal
Barrio of
Na Poong Santa Cruz.
Dingin,
Subli
Alitagtag, The name comes from the Tagalog
Batangas words “subsub” (stooped) and “bali”
(broken). Hence, the male dancers are
positioned in a “trunk-forward-bend”
way seemingly lame and crooked
throughout the dance.
The Sayaw sa Obando is performed in
honor of Santa Clara, patron saint of
the childless. It is the childless women
Obando,
Sayaw Sa Obando usually from Malabon and Navotas who
Bulacan
participate in the dance as part of a
ritual to ask the said saint to grant their
wishes to have a child.

Cariñosa or Karinyosa is a well known

dance around the Philippines with the
meaning of the word being affectionate,
lovable, and amiable. The dancers use
Cariñosa a handkerchief and go through the
motions of hide and seek or typical
flirtatious and affectionate movements.
The dance comes in many forms but
the hide and seek is common in all.

Kuratsa During the Spanish regime, Kuratsa

was one of the popular and best liked

PE01 | INTRODUCTION OF DANCES | CO4 24 | P a g e

 PE01| INTRODUCTION OF DANCES

dances in the country. There are many

versions across different regions in
Ilocos and Bicol. Currently, the one
being performed is a Visayan versions
from Leyte. Performed in a moderate
waltz style, the dance has a sense of
improvisation that mimics a young
playful couple trying to get each other's
attention.

Coming from the Spanish word

“fandango”, the dance is characterized
Lubang
by steps and clapping that varies in
Pandanggo Sa Island,
rhythm in 3/4 time. The Pandanggo sa
Ilaw Mindoro,
Ilaw demands three oil lamps balanced
Visayas
on the heads and the back of the
hands of each dancer.

1.6 SUBLI DANCE – URBAN

Definition 1.1 SUBLI

Subli preceded Christianity in the Philippines and is a pre-Spanish era’s
religious ritual.
The people of Bauan, Batangas paid homage to the cross, reverently
called Mahal na Poong Alitagtag (Beloved Holy Cross of Alitagtag) by
dancing the folk dance called Subli. 
 The dance is traced to the town of Bauan, Batangas. Subli recalls the
first journey of the manunubli, early tribes who settled in Bauan as they
went through the fields, the hills and rivers in search of the miraculous
cross.
 Subli came from the word “subsob” which means to fall with the head
down and “bali” (accent on the second syllable) meaning broken. This
is interpreted in the way the male dancers look down and also the way

PE01 | INTRODUCTION OF DANCES | CO4 25 | P a g e

PE01| INTRODUCTION OF DANCES

the dancers move in steps. Others said it came from the

word “sobli” meaning “salisi” or the exchange of place which is a
prominent feature of the dance.
 Subli is a dance, a religious ritual, a “panata” or a solemn vow directed
to the Holy Cross for all the blessings and the people’s belief that the
cross has the power to ward off evil spirits. Subli is also a play and is a
long sequence of prayers in verse, songs and dances.
During the dance, the ladies dance in circle and with graceful
movement of their wrists and their fingers grazing their brimmed hats
and alampay, a triangular scarf worn loosely over their shoulders. The
male dancers move in a weak but dramatic movement with tortuous
and twisting motion in between and around the ladies. It has a very
lively music.

1.6 SUBLI DANCE – URBAN

Definition 1.2 SUBLI

Subli is not just a dance. It is made up of a long sequence of prayers in
verse, songs and dances, which are performed in a set ceremony. It tells
the story of the “manunubli,” or early dancers, who traveled far to search
for the cross. The songs are based on a basic melody (“punto”) which can
than be expanded upon. The dancers are in pairs (the number of pairs
varies by barrio, but is often one, two or eight pars) of men and women,
and dance to the beat of a stick on a “tugtugan” (a drum made with iguana
skin). The men’s and women’s dance moves are quite different–with the
men being quite energetic (leaping and kicking, hitting the ground with
large wooden clappers), and the women performing the more sedate “talik”
(small gestures with the hands and wrists, and touching of hats and
scarves).

PE01 | INTRODUCTION OF DANCES | CO4 26 | P a g e

PE01| INTRODUCTION OF DANCES

1.6 SUBLI DANCE – URBAN

Definition 1.3
RELIGIOUS ASPECTS;
 
                      Part of the confusion regarding the history of the Subli stems
from the religious aspects. While crosses were obviously a symbol in the
Philippines in ancient times, much of the symbolism of the dance itself is
based in Christianity, which is why it is thought that much of the tradition of
the Subli dates from more recent Spanish rule times. The Holy Cross is
obviously the focal point of the dance, and it is thought that it is not possible
to truly do the dance without a cross present. The cross is also draped with
a white fabric that is seen by many to symbolize the stole of Jesus Christ
that is placed on the Holy Cross during Easter celebrations.

PE01 | INTRODUCTION OF DANCES | CO4 27 | P a g e

PE01| INTRODUCTION OF DANCES

1.2. Basic Dance steps

In this Subject you will learn the Basic dance steps
Definition 1.1 DANCE STEPS

Hopping- Springing into the air from one foot and landing on the same
foot

Jumping- Movement without a point of support or Spring into the air off

both feet and land on both feet

Leaping-A transfer of weight from one foot to the other. Push off with a
spring and land on the ball of the other foot, letting the heel come down
Bend knee to absorb the shock

Pivoting-A traveling turn executed with thighs locked and feet apart in
extended fifth position

Shuffling-A triple step similar to a Polka step with no lilt for example step
forward left and bring the right foot up yo the heel of the left foot.

Brushing-To brush, sweep or scuff the foot against the floor

Kumintang- a simple, classic gesture of rotating the hand and wrist and
movement of arms which was believed to have been inspired by arnis.

Sarok or Salok- is an elaborate bow which must have been inspired by

the woman acitivity of fetching water from a well.

sway-A tilt of the chest to the side, without lowering the torso Stretching
from the side upwards

Waltz steps-A ballroom dance in 3/4 time which first developed in Vienna
as a fast paced dance to the Strauss music of the time, and eventually
evolved into the slower version we now know as Waltz (or Slow Waltz). 

PE01 | INTRODUCTION OF DANCES | CO4 28 | P a g e

PE01| INTRODUCTION OF DANCES

                     

Examples
Fundamental Position

PE01 | INTRODUCTION OF DANCES | CO4 29 | P a g e

PE01| INTRODUCTION OF DANCES

What I have learned

Picture your self while doing the 5 position of fundamental.

Assessment (Post-test)
Direction ;Answer the following

1-10 Enumarate the basic dance steps,

11.what is Chhristianize dance.
12. what are the rural dances?

Answer Key
Pretest:

1.a2.a3.a4.da.c5a
Post test:

1.a2a

References
1. Hope 3 Dance by; Urbiztondo, Mangubat, Tolitol and Vergara
2. Philippine Folk dance Vol. 1 to Vol 6 by: Francesca Reyes Aquino
3. Fitness,health and Sports Vol.1 by Lorna A.Espeso.PHD
4. Health Optimizing Physical Education Vol.2 by. Lorna A Espeso.PHD
5. Dance Education in School Curriculum by. Priscilla Legaspi-Minas,Ed.D
6.Bryant, C.X., Ph.D., FACSM, & Green, D.J. (2010). ACE personal trainer manual: The
ultimate resource for fitness professionals (4th ed.). San Diego, CA: American Council on
Exercise.
7.Corbin, C.B., Lindsey, R., Welk, G.J., Corbin, W.R. (2002). Concepts of fitness and wellness:
A comprehensive lifestyle approach (4th ed.). New York: McGraw-Hill Companies, Inc.
8 Fahey, T.D., Insel, P.M., & Roth, W.T. (2007). Fit & well: Core concepts and labs in physical
fitness and wellness (7th ed.). New York: McGraw-Hill Companies, Inc.
9 Fahey, T.D., Insel, P.M., Roth, W.T. (2011). Fit & well: Core concepts and labs in physical

PE01 | INTRODUCTION OF DANCES | CO4 30 | P a g e

PE01| INTRODUCTION OF DANCES

fitness and wellness (9th ed.). New York: McGraw-Hill Companies, Inc.
10 Hoeger, W.W.K., & Hoeger, S. (2000). Lifetime physical fitness & wellness. Englewood,
Colorado: Morton Publishing Company
Online Supplementary Reading Materials
11 Carl Bianco. How Your Heart Works. (n.d.). RETRIEVED from
http://health.howstuffworks.com/human-body/systems/circulatory/heart1.htm on July
13, 2016.
12No author. How Many Times Does Your Heartbeat in a Lifetime. (n.d.). RETRIEVED
FROM https://wonderopolis.org/wonder/how-many-times-does-your-heart-beat-in-a-
lifetime on July 13, 2016
13. Ted S. Melendres. Filipino Weightlifter Hidilyn Diaz Wins Silver in Rio. (August 8, 2016).
RETRIEVED from http://sports.inquirer.net/218596/filipino-weightlifter-hidilyn-diaz-
wins-silver-in-rio on August, 2016

PE01 | INTRODUCTION OF DANCES | CO4 31 | P a g e