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    Lerion Pacson

    Uploaded by

    Jerome Mallari Pacson
    The document provides instructions for performing the traditional Filipino folk dance called Lerion. It begins with a brief history of the dance's origins in Parang, Marikina, describing how the villagers would sing songs and incorporate movements based on nature. The summary is: The Lerion dance originated in Parang, Marikina as a festival dance performed by villagers after harvests. They would sing folk songs like "Leron, Leron Sinta" and improvise movements based on the natural surroundings. Over time, these natural movements became incorporated into the local culture and expression of love. The document then provides details on costumes, music, formations and steps for six figures that make up the dance.

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    © All Rights Reserved
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    Lerion Pacson

    Uploaded by

    Jerome Mallari Pacson
    1K views30 pages
    The document provides instructions for performing the traditional Filipino folk dance called Lerion. It begins with a brief history of the dance's origins in Parang, Marikina, describing how the villagers would sing songs and incorporate movements based on nature. The summary is: The Lerion dance originated in Parang, Marikina as a festival dance performed by villagers after harvests. They would sing folk songs like "Leron, Leron Sinta" and improvise movements based on the natural surroundings. Over time, these natural movements became incorporated into the local culture and expression of love. The document then provides details on costumes, music, formations and steps for six figures that make up the dance.

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    The document provides instructions for performing the traditional Filipino folk dance called Lerion. It begins with a brief history of the dance's origins in Parang, Marikina, describing how the villagers would sing songs and incorporate movements based on nature. The summary is: The Lerion dance originated in Parang, Marikina as a festival dance performed by villagers after harvests. They would sing folk songs like "Leron, Leron Sinta" and improvise movements based on the natural surroundings. Over time, these natural movements became incorporated into the local culture and expression of love. The document then provides details on costumes, music, formations and steps for six figures that make up the dance.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    1K views30 pages

    Lerion Pacson

    Uploaded by

    Jerome Mallari Pacson
    The document provides instructions for performing the traditional Filipino folk dance called Lerion. It begins with a brief history of the dance's origins in Parang, Marikina, describing how the villagers would sing songs and incorporate movements based on nature. The summary is: The Lerion dance originated in Parang, Marikina as a festival dance performed by villagers after harvests. They would sing folk songs like "Leron, Leron Sinta" and improvise movements based on the natural surroundings. Over time, these natural movements became incorporated into the local culture and expression of love. The document then provides details on costumes, music, formations and steps for six figures that make up the dance.

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    © All Rights Reserved
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    P.

    E Q3 Module 2
    Prayer
    Heavenly Father and Your Beloved Son Jesus Christ,
    We thank you for giving us another life,
    We thank you for another Beautiful Morning.
    As we go on through our lessons today,
    May you make us instruments to do good things.
    Please enlighten our minds,
    Give us the strength to participate in our subject today.
    Thank you for this opportunity to learn and serve others,
    and help me to always remember the Truth of Your Glory!
    In Jesus’ name. Amen
    LERION!
    Lerion
    In the mid 1950's the late National Artist for
    Dance, Dr. Francisca Reyes-Aquino and the
    resident artist Simeona F. Chanyungco
    thoroughly explored to search for a dance
    around here. They discovered this dance in
    the old Parang, Marikina (formerly part of
    Rizal).
    History discloses to us that Parang for many years was a
    typical agricultural town. Today, we don't discover a hint of
    the old Parang of yesteryears. But looking back one can
    find a trace in the olden days, townspeople would group
    together after their harvest in the spirit of sense of
    community and fun. They would sing and extemporize
    nonsensical rhymes to their tunes and afterward would
    immediately put movement into their songs. The words in
    Leron, Leron Sinta give a picture of a space loaded up with
    trees and plants, birds and bees, animals and insects, being
    observed and delighted in by the locals in their habitat.
    Eventually these unadulterated movements of nature were
    gradually absorbed in the life and culture of the town such
    as in their expression of love and courtship. This was the
    Parang of yesteryears that embraced Lerion as their festival
    dance (a concocted) word from Leron Leron Sinta.
    Being a Marikeño, it is a must that we know the folk dances of our
    city. And at the same time, Balse and Lerion are two local folk
    dances which allow you to use your body and help you to be
    physically active and engage in dancing as a physical activity.
    The name of the dance Lerion was derived from the popular folk
    song Leron, Leron, Sinta. This festival dance is a favorite of the
    old people of Barrio Parang in Marikina, Rizal.
    Meaning: Leron, Leron, Sinta
    Dance Culture: Lowland Christian
    Place of Origin: Parang, Marikina (formerly Province
    of Rizal)
    Ethno Linguistic Group: Tagalog
    Dance Properties:
    Costumes
    Female

    • Balintawak attire with tapis


    and soft pañuelo around the
    neck. A pair of corcho or
    tsinelas is used for footwear.
    Male

    • Camisa de Chino for Barong


    Tagalog, with a pair of white
    trousers and a pair of tsinelas for
    footwear.
    • Music: Divided into two parts: Music A and B.
    • Count: One, two, three (1, 2, 3) to a measure.
    • Formation: Partners stand opposite each other
    about six feet apart. When facing the audience,
    Girl stands to the right of Boy. One to any number
    of pairs may perform this dance.
    Steps
    • Remember these signs:
    R – Right L –Left

    Ct(s) –Counts M- Measure


    G – Girl B- Boy
    Introduction

    MUSIC INTRODUCTION

    • Pause for 2 measures. Girl faces audience with L hand


    holding tapis, R hand on waist. Boy faces away from
    the audience with L hand holding hem of Camisa de
    Chino or Barong Tagalog, R hand on waist. 2 M
    FIGURE I - LIBAD
    (Around Each Other)
    MUSIC A

    Girl still facing the audience while the


    boy is facing away from the audience.
    Same position of hands as in intro for
    both Boy and Girl. Throughout this
    figure, the wrist of the L hand of the
    Boy and Girl moves up and down
    alternately in time with the music.
    FIGURE I - LIBAD
    (Around Each Other)

    a) Stamp L in front (cts. 1, 2), point L foot in rear (ct. 3). Stamp L foot again in front without
    putting weight on it (ct. 1), turn left about pivoting on R foot (ct. 2), step L forward (ct. 3). 2 M
    b) Waltz sideways R to be in back-to-back positions
    with partner. Boy faces the audience while Girl faces away from the audience. 1 M
    c) Turn left to face each other. Starting with the L foot, waltz obliquely backward left to the
    partner's place. 1 M
    d) Turn left. This time, the girl faces the audience while Boy faces away from the audience.
    Waltz sideward R to be in back – to – back position with partner. 1 M
    e) Turn left to face each other. Waltz L obliquely backward left to go to proper places. 1 M
    f) Turn left so that Boy faces the audience while Girl faces away from the audience. Waltz
    sideward R and L while in back – to – back position with partner. 2 M
    FIGURE I - LIBAD
    (Around Each Other)

    g) Turn right to face each other. Waltz R sideward to be in proper places. 1 M


    h) Turn right so that Girl faces the audience while Boy faces away from the audience. Waltz
    sideward L and R to be in back – to – back position with partner. 2 M
    i) Turn left to face each other in proper places. Waltz L sideward. 1 M
    j) Turn left so that Boy faces the audience while Girl faces away from the audience. Waltz R
    sideward to be in back- to – back position with partner. 1 M
    k) Turn left to face your partner. Waltz L obliquely backward left to go to partner’s place. 1 M
    l) Take a three-step turn right in place. 2 M
    Girl faces away from the audience while Boy faces the audience.
    m) Repeat all (A-L) Reverse facings and places. Finish in proper places. 16 M
    FIGURE I - LIBAD
    (Around Each Other)
    FIGURE II - KUNDAY
    (Wrist Movement)

    Music B

    Face same direction as in introduction


    NOTE: This figure is similar to Figure I,
    except for the clapping of hands in (a)
    and the hand movements in (b) to (k).
    FIGURE II - KUNDAY
    (Wrist Movement)

    a) Repeat Figure I (a). Clap hands in front of chest three times. Clap hands on
    counts 1, 3, 1 during the first stamping, pointing in rear and on second stamping.
    2M
    b) Repeat Figure I (b-k). Start with R arm bent upward, L arm bent forward at
    waist level. The fists of both hands should be loosely closed with the
    wrist raised and lowered alternately on counts 2, and 3, and of every measure.
    This movement of the hands is called “Kunday”. Reverse the position of arms
    every measure. Make sure that when waltzing with the R foot, the R arm is bent
    upward and when waltzing with L foot, the arm is bent upward. 12 M
    c) Three steps turn right in place. Girl holds tapis, Boy places hands on waist. Girl
    faces away from the audience. Boy faces the audience. 2 M
    d) Repeat all (a-c). Reverse facings and places. Finish in proper places. 16 M
    FIGURE II - KUNDAY
    (Wrist Movement)
    FIGURE III - KATOK
    (Tapping)

    Face same direction as in introduction


    a) Repeat Figure II (a). 2 M
    b) Repeat Figure I (b) and (c). Do the same hand
    movement as in Figure II (b). 2 M
    c) Tap R foot in front in count 2, 3 of every measure.
    Repeat the same hand movement of Figure II (b), R and
    L arm bent upward, and L and R bent forward at chest
    level alternately every measure. 10 M
    d) Execute a three-step-turn right in place. Girl holds the
    skirt, Boy places hands on waist. Girl faces away from
    the audience. Boy faces the audience. 2 M
    e) Repeat all (a-d). Finish in proper places. 16 M
    FIGURE III - KATOK
    (Tapping)
    FIGURE IV- KAMAYAN
    (Shaking Hands)

    Music B
    Face same direction as in introduction
    a) Repeat Figure II (a). 2 M
    b) Repeat Figure I (b) and (c). Do the same hand movement as in
    Figure II (b). 2 M
    c) Join R hands, free hands down at sides. Take ten step swings
    sideward, R and L alternately. Move the joined hands (R hands)
    away and toward the audience alternately as if shaking hands. 10 M
    d) Release hold. Execute a three-step-turn right in place. Girl holds
    the skirt, Boy places hands on
    waist. 2 M

    Girl faces away from the audience.


    e) Repeat all (a-d). Join L hands in (c). Finish in proper places.16 M
    FIGURE IV- KAMAYAN
    (Shaking Hands)
    FIGURE V- KAWIT
    (Holding Forearm)

    Music A
    Face same direction as in introduction

    a) Repeat Figure 2 (a). 2 M


    b) Repeat Figure 1 (b) and (c). Do the same hand
    movement as in Figure 2 (b). 2 M
    c) Hold each other’s R forearm (just below the elbow) at
    the waist level, free hands down at sides. Starting with
    the R foot, take ten small step-brush-swings forward
    moving around clockwise to the partner's original place.
    10 M
    d) Release hold. Execute a three-step-turn right in place.
    Girl holds the skirt, Boy places hands on waist. 2 M
    Girl faces away from the audience.
    e) Repeat all (a-d). Hold each other’s L forearm. Turn
    counterclockwise in (c). Finish in proper places. 16 M
    FIGURE V- KAWIT
    (Holding Forearm)
    FIGURE VI- LABAS-PASOK
    (Out and in)

    Music A
    Face same direction as in introduction
    a) Repeat Figure II (a). 2 M
    b) In back-to-back positions, Boy facing the audience and Girl facing
    away from the audience, waltz R sideward (1M). Turn left to face
    partner, waltz L obliquely backward left to partner’s place (1M). Same
    hand movement as in Figure II (b). 2 M
    c) Turn left so that Girl faces the audience while Boy faces away from
    the audience. Waltz R sideward (1M). Turn left to face your partner.
    Waltz L obliquely backward to proper places (1M). Same hand
    movement as in Figure 2 (b). 2 M
    d) Repeat (b) and (c) two times more. 8 M
    e) Take a three-step-turn right in place. Girls hold skirts while boys
    place their hands on their waist. 2 M
    f) Repeat all (a-e). Finish bowing to a partner or audience. 16 M
    FIGURE VI- LABAS-PASOK
    (Out and in)
    Activities for today!

    PERFORMANCE TASK
    • Please do the additional activities (Fitness First) page 13 on your
    module

    ASSIGNMENT
    • Please answer Post-Test page12 in your module

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