UNIVERSITY OF MINDANAO

College of Teacher Education

Bachelor of Physical Education

Physically Distanced but Academically Engaged

Self-Instructional Manual (SIM) for Self-Directed Learning

(SDL)

Course/Subject: Philippine Traditional Dances

Name of Teacher: Marmee Rochelle M. Potenciando

THIS SIM/SDL MANUAL IS A DRAFT VERSION ONLY; NOT FOR

REPRODUCTION AND DISTRIBUTION OUTSIDE OF ITS
INTENDED USE. THIS IS INTENDED ONLY FOR THE USE OF
THE STUDENTS WHO ARE OFFICIALLY ENROLLED IN THE
COURSE/SUBJECT.
EXPECT REVISIONS OF THE MANUAL.
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Table of Contents
PART 1: COURSE OUTLINE POLICIES………………………………………….. 4
PART 2: INSTRUCTION PROPER
BIG PICTURE: HISTORY OF DANCE AND FOLKDANCE
UNIT LEARNING OUTCOME (ULOa) ………………….………….... 8
METALANGUAGE ……………………………………………………. 8
ESSENTIAL KNOWLEDGE ………………………………………….. 8
SELF-HELP …………………………………………………………..... 17
LET’S CHECK …………………………………………………………. 18
LET’S ANALYZE ……………………………………………………..... 18
IN A NUTSHELL ……………………………………………………..... 19
BIG PICTURE: FUNDAMENTALS OF ARMS AND FEET POSITIONS
UNIT LEARNING OUTCOME (ULOb) …………………………….….. 20
METALANGUAGE ……………………………………………….…..... 20
ESSENTIAL KNOWLEDGE …………………………………….…..... 20
KEYWORDS …………………………………………………………… 24
SELF-HELP ………………………………………………………....... 25
LET’S CHECK …………………………………………………..…….. 25
LET’S ANALYZE .……………………………………………..…......... 27
IN A NUTSHELL ……………………………………………………... 29
BIG PICTURE: FOLK DANCE STEPS IN 2/4 AND ¾ TIME SIGNATURE
UNIT LEARNING OUTCOME (ULOa) ………………………….….... 31
METALANGUAGE ………………………………………………....... 31
ESSENTIAL KNOWLEDGE ……………………………………….... 31
KEYWORDS ………………………………………………………….. 39
SELF-HELP ………………………………………………………....... 39
LET’S CHECK ………………………………………………………... 39
LET’S ANALYZE ……………………………………………………... 39
IN A NUTSHELL …………………………………………………….... 41
BIG PICTURE: DANCE LITIRATURE INTERPRETATION
UNIT LEARNING OUTCOME (ULOb) ……………………………….. 43
METALANGUAGE ……….…………………………………………… 43
ESSENTIAL KNOWLEDGE …………………………………………. 44
KEYWORDS ………………………………………………………….. 60
SELF-HELP …………………………………………………………... 60
LET’S CHECK ………………………………………………………... 61
LET’S ANALYZE ……………………………………………………... 61
IN A NUTSHELL ……………………………………………………… 63
BIG PICTURE: FOLK DANCE CULTURE AND IMPLEMENTS
UNIT LEARNING OUTCOME (ULOa) ……………………………….. 64
METALANGUAGE ……….…………………………………………… 64
ESSENTIAL KNOWLEDGE …………………………………………. 65
KEYWORDS ………………………………………………………….. 69
SELF-HELP …………………………………………………………... 70
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LET’S CHECK ………………………………………………………... 70

LET’S ANALYZE ……………………………………………………... 70
IN A NUTSHELL ……………………………………………………… 71
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Course Outline: BPE 212 – Philippine Traditional Dances

Course Coordinator: Marmee Rochelle M. Potenciando

Email: [email protected]
Student Consultation: Every Friday 8:00 to 10:00Am
Mobile: 09367126301
Phone: 082-3050647 local 102
Effectivity Date: August 2020
Mode of Delivery: Blended (On-Line with face to face or virtual sessions)
Time Frame: 54 Hours
Student Workload: Expected Self-Directed Learning
Requisites: None
Credit: 3
Attendance Requirements: A minimum of 70% attendance is required at all
scheduled Virtual or face to face sessions.

Course Outline Policy

Areas of Concern Details

Contact and Non-contact Hours This 3-unit course self-instructional manual is designed
for blended learning mode of instructional delivery with
scheduled face to face or virtual sessions. The
expected number of hours will be 54 including the face
to face or virtual sessions. The face to face sessions
shall include the summative assessment tasks (exams)
since this course is crucial in the licensure examination
for teachers.
Assessment Task Submission Submission of assessment tasks shall be on 3rd, 5th, 7th
and 9th week of the term. The assessment paper shall
be attached with a cover page indicating the title of the
assessment task (if the task is performance), the
name of the course coordinator, date of submission and
name of the student. The document should be emailed
to the course coordinator. It is also expected that you
already paid your tuition and other fees before the
submission of the assessment task.

If the assessment task is done in real time through the

features in the Blackboard Learning Management
System, the schedule shall be arranged ahead of time
by the course coordinator.

Since this course is included in the licensure examination

for teachers, you will be required to take the Multiple-
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Choice Question exam inside the University. This should

be scheduled ahead of time by your course coordinator.
This is non-negotiable for all licensure-based programs.
Turnitin Submission (IF To ensure honesty and authenticity, all assessment
NECESSARY) tasks are required to be submitted through Turnitin
with a maximum similarity index of 30% allowed. This
means that if your paper goes beyond 30%, the
students will either opt to redo her/his paper or explain
in writing addressed to the course coordinator the
reasons for the similarity. In addition, if the paper has
reached more than 30% similarity index, the student
may be called for a disciplinary action in accordance
with the University’s OPM on Intellectual and Academic
Honesty.

Please note that academic dishonesty such as cheating

and commissioning other students or people to
complete the task for you have severe punishments
(reprimand, warning, expulsion).
Penalties for Late The score for an assessment item submitted after the
Assignments/Assessments designated time on the due date, without an approved
extension of time, will be reduced by 5% of the possible
maximum score for that assessment item for each day
or part day that the assessment item is late.

However, if the late submission of assessment paper

has a valid reason, a letter of explanation should be
submitted and approved by the course coordinator. If
necessary, you will also be required to present/attach
evidences.
Return of Assessment tasks will be returned to you two (2) weeks
Assignments/Assessments after the submission. This will be returned by email or
via Blackboard portal.

For group assessment tasks, the course coordinator will

require some or few of the students for online or virtual
sessions to ask clarificatory questions to validate the
originality of the assessment task submitted and to
ensure that all the group members are involved.
Assignment Resubmission You should request in writing addressed to the course
coordinator his/her intention to resubmit an assessment
task. The resubmission is premised on the student’s
failure to comply with the similarity index and other
reasonable grounds such as academic literacy
standards or other reasonable circumstances e.g.
illness, accidents financial constraints.
Re-marking of Assessment You should request in writing addressed to the program
Papers and Appeal coordinator your intention to appeal or contest the score
given to an assessment task. The letter should explicitly
explain the reasons/points to contest the grade. The
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program coordinator shall communicate with the

students on the approval and disapproval of the
request.

If disapproved by the course coordinator, you can

elevate your case to the program head or the dean with
the original letter of request. The final decision will
come from the dean of the college.
Grading System Course exercises – 40% (including BlackBoard forum)
1st exam – 10%
2nd exam – 10%
3rd exam – 10%
Final exam – 30
Preferred Referencing Style (IF APA 6th Edition
THE TASK REQUIRES)
Student Communication You are required to create a umindanao email account
which is a requirement to access the BlackBoard
portal. Then, the course coordinator shall enroll the
students to have access to the materials and resources
of the course. All communication formats: chat,
submission of assessment tasks, requests etc. shall be
through the portal and other university recognized
platforms.

You can also meet the course coordinator in person

through the scheduled face to face sessions to raise
your issues and concerns.

For students who have not created their student email,

please contact the course coordinator or program head.
Contact Details of the Dean Dr. Jocelyn Bacasmot
Email: [email protected]
Phone: 082-3050647 local 102
Contact Details of the Program Ivy V. Singson
Head Email: [email protected]
Phone: 082-3050647 local 102
Students with a Special Needs Students with special needs shall communicate with the
course coordinator about the nature of his or her
special needs. Depending on the nature of the need,
the course coordinator with the approval of the program
coordinator may provide alternative assessment tasks
or extension of the deadline of submission of
assessment tasks. However, the alternative
assessment tasks should still be in the service of
achieving the desired course learning outcomes.
Online Tutorial Registration (IF You are required to enroll in a specific tutorial time for
NECESSARY) this course via the www.cte.edu.ph portal. Please note
that there is a deadline for enrollment to the tutorial.
Help Desk Contact You can contact the CTE/BPE help desk with the
following contact details:
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Phone: 0923-602-8780 (CTE)

Email: [email protected]
Library Contact Head LIC – Brigida E. Bacani
Phone: (082)300-5456
Hotline No.: 0951-376-6681
Email: [email protected]
Well-being Welfare Support Help GSTC Head: Ronadora E. Deala
Desk Contact Details Phone: 09212122846
Email: [email protected]
GSTC Facilitator: Ivy Jane Regidor
Phone: 09105681081
Email: [email protected]

Course Information – see/download course syllabus in the Black Board LMS

CC’s Voice: Welcome to this course BPE 212: Philippine Traditional Dance. Do you
know why you need to study this course? This will let you experience how
beautiful our Philippine folk dances through the study and performance of
each dances, step by step accurately. Let's dance, learn, and be immersed.

CO Before you can perform Philippine traditional dances, you have to 1) discuss
the techniques in performing different folk dances according to the
background of the dance; 2) perform different folk dance steps with a sense
of patriotism and nationalism; and 3) interpret the literature of the dance
step by step and count by count with accuracy.

Let us begin!
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Big Picture

Week 3 - 5: Unit Learning Outcomes (ULO): At the end of the unit, you are expected to

a. Interpret the basic folk dance steps in 2/4 and 3/4 time signature music.

Big Picture in Focus: ULOa. Interpret the basic folk dance steps in 2/4
and 3/4 time signature music.

Metalanguage

In this section, the most essential terms relevant to the study of Philippine folk
dance. To demonstrate ULOa will be operationally defined to establish a common frame
of reference as to how the texts work in your chosen field or career. You will encounter
these terms as we go through the study of Philippine traditional dances. Please refer to
these definitions and to the previous definitions in case you will encounter difficulty in the
in understanding educational concepts.

1. Step Pattern. Are written instruction given to a dance step like the how the step
should be executed, and the counting for the dancer to follow.
2. Measure (M). The unit formed by the recurrence of accent or fundamental rhythmic
group.
3. Time Signature. The speed of music used in the dance like, 2/4, 3/4, and 4/4.
Number of beats in a measure ¾ the kind of note that receives one beat.

Essential Knowledge

Basic Folk dance Steps in 2/4 Time signature

Dance Step M Step Pattern

Bleking 1 Place R (L) heel in fourth in front (ct.1), step R (L) close to L (R) foot in
first position (ct.2)
Brincos con 1 Jump and land with R(L) foot across the L(R) in front, both feet flat on
Puntillas the floor (ct.1), hop on L(R) and foot circle outward in the air with R(L)
foot (ct.and), step lightly on ball of R(L) foot in rear of L(R) and raise
heel of L(R) (ct.2), spring on R(L) and land on L(R) and at the same
time point R(L) toe in front of L(R) with R(L) knee lightly benr (ct.and).
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Brincos con 2 Same as brincos con puntillas but make a quarter-turn R(L) when
Vueltas hopping on L(R) on the first ct. and. Make another quarter-turn R(L)
before stepping on the ball of R(L) foot on rear of L(R) on ct.2.

Change step 1 Step R(L) foot in fourth in front (ct.1), step L(R) close to R(L) foot in third
in rear or in 1st position (ct. and), step R(L) foot quickly in 4th in front
(ct.2). This may be executed in any direction.

Cross-change 1 Step R(L) foot across L(R) in front (ct.1), step L(R) close to R(L) foot in
step third in rear or in 1st position (ct. and), step R(L) foot quickly in 4th in front
(ct.2). This step is commonly done forward and sideward.

Syncopated 1 Step R(L) foot fourth in front (ct.1), step L(R) close to R(L) foot in third
change step in rear or in 1st position (ct. and), make a short slide on R(L) forward
placing the weight on the heel as if doing a “buck” (ct.2)

Heel and Toe 2 Place the R (L) heel in fourth in front (ct.1), touch the R (L) toe in rear
change step (ct.2). Take one change step forward starting with the R (L) foot (cts.
1, and, 2).
This may be executed forward and backward and in oblique
directions.

Changing step 1 With a little jump off the floor, land on both feet with the R(L) in front
(Palit-palit) and the L(R) foot on rear (ct.1), with a little jump reverse the position
of the feet (ct.2).
There are two changing steps in a measure.

Chasing step 1 Step R(L) forward (ct.1) and step L(R) close to R(L) in 3rd in rear or 1st
position (ct. and). This step is executed with one foot leading in all
directions. The steps are small.
There are two chasing steps in a measure.

Close step 1 Step R (L) foot in fourth in front (ct.1), close L (R) to R (L) foot in third
in rear or in first position (ct.2).
This may be executed in any direction.

Contra - Gansa 1 Leap sideward wright (left) onto R (L) foot (ct.1), step L(R) across the
R (L) in front (ct. and), quickly step the R(L) foot in place (cts. 2).
This is most commonly done sideward.

Cut step 1 Raise R(L) foot in fourth in front in preparation. Cut the L(R) backward
with the R(L) foot thus displacing the L foot at the same time placing the
weight of the body on the R foot, raising L foot in rear with straight knee
(ct.1). Cut the R(L) forward with L(R) foot (ct.2).
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Fall onto R(L) foot in fourth in front and raise L(R) in rear (ct.1), fall onto
L(R) foot in fourth in rear and R(L) in front (ct.2).
The body is inclined slightly forward and backward in a rocking motion.
Take one rock forward and one rock backward for every measure.

Galop 1 Step R (L) foot in fourth in front (ct. 1) and cut the R (L) foot with
the L (R) foot with the L (R) thus displacing it and at the same time
taking the weight of the body with the L (R) foot (ct. ah).
There are two galops to one measure. This is executed with one
foot leading and may be done in any direction.

Grapevine 2 Step R (L) foot in second position (ct.1), step L (R) across the R
(L) in front (or in rear) (ct. 2), step R (L) in second (ct. 1), step L
(R) across the R (L) in rear (or in front) (ct.2), and so on.

Habanera 1 Step R (L) in fourth in front (ct.1), step L (R) close to R (L) in first
(ct.2), step R (L) in place (ct. and).
This may be executed in any direction.

Haplik 8 a) Take two steps forward (R,L) (cts. 1,2)

b) Hop on L, raise the R knee in front and swing the R foot to L
foot (ct.1), hop again on the L and swing the R foot obliquely
forward right (ct.2).
c) Make a three-step turn right in place, starting with the R foot
(cts. 1, and 2).
d) Repeat (b), hopping on the R and swinging the L foot
e) Repeat (c) turning left, starting with the L foot
f) Repeat (b)
g) Take two steps backward (R,L) (cts. 1,2)
h) Close R to L foot in first position (ct. 1), pause (ct.2)

Mincing step 1 Starting position: R (L) foot in fifth position in front, heels slightly
raised or with the leading foot flat on the floor. Execute tiny steps
sideward right (left) as many times as necessary. It may be done
with a one, two, or four tiny steps in one count.
This may be done also forward and backward.

Korriti step 1 Same as mincing step but with one foot across in front.
Plain polka 1 Step L (R) foot in fourth in front (ct. 1), step R (L) close to L (R)
foot in third in rear (ct. and), step L (R) in fourth in front (ct.2),
pause (ct. and). Bend the body to the same direction of the step.
This may be executed in any direction.
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Heel and toe 2 Place the R (L) heel in fourth in front (ct.1), touch the R (L) toe in rear
polka (ct.2). take one plain polka step forward, starting with the L (R) foot (cts.
1, and, 2, and). This may be executed forward, backward, and in oblique
direction.

Hop polka 1 Hop on the L (R) foot and step R (L) forward (ct.1), step L (R) close to
R (L) in third in rear (ct. and), step R (L) forward (ct.2) and pause (ct.
and). This may be executed in any direction.

Slide polka 2 Slide L (R) foot in fourth in front (ct. 1), close R (L) foot in third in rear
(ct. and), slide R (L) foot in fourth in front (ct. 2), close L (R) foot in third
in rear (ct. and). Take one plain polka forward starting with the L (R) foot
(cts. 1, and, 2, and). This may be executed in any direction.

Rocking step 1 Fall onto R (L) foot in fourth in front and raise L (R) in rear (ct. 1), fall
onto L (R) foot in fourth in rear and raise R (L) in front (ct.2). the body is
inclined slightly forward and backward in a rocking motion. Take one
rock forward and one rock backward in every measure.

Shuffling step 1 Execute tiny sliding steps on the balls of the feet as many times as
required. This is usually done forward.

Skip step 1 Step R (L) in fourth in front (ct.1), hop on R (L) in place (ct.ah). Step L
(R) in fourth in front (ct.2), hop on L (R) in place (ct.ah). There are two
skip steps in a measure
Slide step 1 Slide or glide R (L) in fourth position in front (ct.1), close L (R) to R (L)
foot in third position in rear or in first position (ct.2). this may be executed
in any direction.

Step hop 1 Step R (L) in fourth in front (ct.1), hop on the same foot and raise the L
(R) foot in front or in rear (ct.2). This may be executed in any direction.

Step point 1 Step R (L) in fourth in front (ct.1), point L (R) foot and raise the L (R)
foot in fourth in front (ct.2). This may be executed in all direction. The
pointing is always done in front.

Step swing 1 Step R (L) foot in second position (ct.1), swing the L (R) foot in fourth in
front or across the R (L) in front (ct.2). The raised foot is pointed
downward or in natural position and the knee is straight or slightly bent.
This is done in any direction.

Touch step 1 Point R (L) foot in fourth in front (ct.1), step R (L) close to L (R) in first
position (ct.2). This is commonly done in front.
It could be executed also in this manner: Hop on L (R) and point in front
(ct.1), with a spring reverse the positionof the feet (ct.2), that is pointing
the L (R) in front and the R (L) taking the weight of the body. This is
taking one count for every change of position of the feet. This may be
done also moving forward and backward.
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Change step 4 Slow turn: execute four change steps to make one complete turn either
turn right or left
2 Moderate turn: execute two change steps to make one complete turn
either right or left
1 Fast turn: execute one change step to make a complete turn either right
or left.

Whirl turn Execute fast turns in place with tiny steps to right or left.

Parallel Starting position: Feet together, toes pointed forward, both feet flat on
Tortillier the floor. Pivot on heels and turn toes to sideward left (ct.1), pivot on
balls of feet and turn heels to sideward left (ct. 2), and so on.

Opposite Pivot inward on balls of both feet so that toes touch together (ct.1), pivot
Tortillier on the heel of L and on the ball of the R foot so that heels touch together
(ct.2), pivot on the ball of the L and on the heel of the R so that teos
touch together (ct.1), repeat ct.2 (ct.2), and so on.

Basic Folk dance Steps in 3/4 Time signature

Dance step M Step Pattern

Bacui 4 Point R foot across the L in front, bend body slightly forward and cross
hands down in front with the R hand over the L hand (cts. 1, 2), step R
foot in second position, trunk erect and raise R arm to fifth position
amplified (ct.3). Step the L foot across the R in rear, close the R arm to
fifth position (cts. 1,2), step R in second position and open arm to fifth
position amplified (ct.3). step L foot sideward right across the R in front,
close R arm to fifth position (cts. 1,2), step R in second position and
open R arm to fifth position amplified (ct.3). Close L to R in first position,
close R arm to fifth position (cts.1,2,3). The L hand remains on waist
for the last three measures.
Repeat the same movements, starting with the L foot going sideward
left. Reverse the position of the arms.
This step originated from the Visayan region.

Bleking 1 Place R (L) heel in fourth in front (cts.1,2), step R (L) close to L (R) foot
in first position (ct.3)

Close step 1 Step R (L) foot in fourth in front (cts.1,2), close L (R) to R (L) foot in
third in rear or in first position (ct.3).
This may be executed in any direction.

Cross step 1 Step R (L) foot in second position (ct.1), step or slide L (R) foot
sideward R (L) across the R (L) in front (cts.2,3). Put the weight on the
L (R) foot at the end of the slide on the third count. This is done in series
moving to one direction to sideward right or left.
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Engaño with a 2 Step R (L) foot in second position (cts.1,2), step L (R) across the R (L)
close foot in front (ct.3). Step R (L) foot in second position (ct.1), close L (R)
to R (L) foot in first (cts.2,3). Do not put weight on the L (R) foot when
closing on counts 2,3. Arms in third or in fourth position, R (L) arm high
or one arm in reverse “T” and the other bent forward at shoulder level.
This step originated from Bicol

Engaño with a 2 Step R (L) foot in second position (cts.1,2), step L (R) across the R (L)
waltz foot in front (ct.3). Step R (L) foot in second position (ct.1), step L (R)
close to R (L) foot (ct.2), step R (L) in place (t.3). Arms in third or in
fourth position, R (L) arm high or one arm in reverse “T” and the other
bent forward at shoulder level.

Espunti 1 Starting position: Feet in first position, move the L heel sideward left
without lifting the toes and point R foot sideward right (ct.1), lift the toe
of the L foot and move it sideward left at the same time point the R foot
to fourth position in front (cts. 2,3). Repeat as many times as required.
Repeat above starting with the other foot moving sideward right.
This step originated from the Visayan region.

Grapevine 2 Step R (L) foot in second position (ct.1), step L (R) across the R
(L) in front (or in rear) (ct. 2), step R (L) in second (ct. 3), continue
crossing L (R) in front and in rear, and so on.

Kuradang 2 Change step obliquely forward R (L) (cts. 1, and, 2), step L (R) across
the R (L) in front (ct.3), change step obliquely backward R (L) (cts. 1,
and 2), point L (R) in front (ct.3).
This step originated from Visayan region.

Mazurka 1 Slide R (L) foot in second (ct.1), cut R (L) sideward with the L (R) foot
(ct.2), hop on the L (R) foot and beat in rear or in front of the R (L) foot
close to the ankle of the L (R) foot (ct.3).
This step may be executed forward, obliquely forward, sideward or
going around also with one foot leading.

Mudansa 16 a) Step R (L) obliquely forward right and at the same time face half-
right (half-left) (ct.1), brush L (R) heel obliquely forward right (left)
(ct.2), step on the L (R) heel obliquely forward right (left) (ct.3). Step
R (L) close to L (R) heel (ct.1), brush L (R) heel obliquely forward
right (left) (ct.2), step on the L (R) heel obliquely forward right (left)
(ct.3). Step R (L) close to L (R) heel (ct.1), brush L (R) heel forward
(cts.2,3)
b) Repeat (a) three more times, starting L, R, L (R, L, R) and facing
obliquely left, right, left (right, left, right).
c) Take two waltz steps backward R, L (L, R)
d) Waltz turn right (left) to starting place (use two waltz steps)
This step originated from the Ilocos region.
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Papuri step 4 a) Step R (L) foot in second position (cts.1,2), step the L (R) sideward
right (left) across the R (L) in front (ct.3). point R (L) foot sideward
left (right) across the L (R) in front (cts. 1,2,3).
b) Repeat (a) once more putting weight of the body on the R (L) foot
on the last three counts, or on ct. 3 of the second measure.
This step originated from the Tagalog region.

Paso Español 4 a) Waltz balance forward R (cts. 1,2,3). Waltz balance backward L
(cts.1,2,3)
b) Step-brush-swing-hop forward R (cts. 1,2,3) and the same with the
L foot (cts.1,2,3)

Redoba step 1 Slide R (L) foot in second position (ct.1), cut R (L) foot sideward with
the R (L) foot sideward with the L (R) (ct.2), cut the L (R) with the R (L)
foot and raise the L (R) foot in rear of the R (L) knee (ct.3).

Sagamantica 4 Step R (L) forward (ct.1), close L (R) to R (L) (cts. 2,3), step L (R)
forward (ct.1), close R (L) to L (R) (cts. 2,3). Step R (L) backward (ct.
1), close L (R) to R (L) (cts.2,3). Raise L (R) foot in front with knee
straight (ct.1), place L (R) heel in front (cts.2,3).
This step originated from Ilocos region.

Sañgig 1 Step R (L) foot sideward (ct.1), step L (R) close to R (L) in first position
(ct.2), foot circle inward in the air with R (L) foot (ct.3). this step starts
always with the same foot.
It originated from the Visayan region.

Step-swing- 1 Step R (L) foot in fourth in front (ct.1), raise the L (R) knee in front (ct.2),
hop hop on the R (L) foot at the same time swinging the L (R) foot outward
(obliquely forward left or right) (ct.3). This is may be done in any
direction.

Step-swing- 1 Step R (L) foot in fourth in front (ct.1), brush L (R) foot forward and
brush-hop swing it across the R (L) in front (ct.2), hop on the R (L) (ct.3). this may
be executed in any direction.

Sway balance 2 a) Step R (L) foot obliquely forward right (left) (cts. 1,2), step L (R)
with a point across the R (L) foot in front (ct.3)
b) Step R (L) obliquely backward right (left) (ct.1), point L (R) in fourth
in front (cts. 2,3)
Arms in fourth position R (L) arm high. Kumintang R (L) hand when
pointing with the L (R) foot on cts. 2,3 of the second measure.

Sway balance 2 a) Step R (L) foot obliquely forward right (left) (cts. 1,2), step L (R)
with a brush across the R (L) foot in front (ct.3)
b) Step R (L) obliquely backward right (left) (ct.1), brush L (R) in fourth
in front (cts. 2,3)
Arms in fourth position R (L) arm high. Kumintang R (L) hand when
pointing with the L (R) foot on cts. 2,3 of the second measure.
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Sway balance 2 a) Step R (L) foot obliquely forward right (left) (cts. 1,2), step L (R)
with a close across the R (L) foot in front (ct.3)
b) Step R (L) obliquely backward right (left) (ct.1), close L (R) in first
in front with the L (R) heel raised (cts. 2,3)
Arms in fourth position R (L) arm high. Kumintang R (L) hand when
pointing with the L (R) foot on cts. 2,3 of the second measure.

Sway balance 2 a) Step R (L) foot obliquely forward right (left) (cts. 1,2), step L (R)
with a hop across the R (L) foot in front (ct.3)
b) Step R (L) obliquely backward right (left) (ct.1), raise L (R) across
the R (L) in front (ct.2), hop on the R (L) foot (ct.3)
Arms in fourth position R (L) arm high. Kumintang R (L) hand when
pointing with the L (R) foot on cts. 2,3 of the second measure.

Sway balance 2 a) Step R (L) foot obliquely forward right (left) (cts. 1,2), step L (R)
with a waltz across the R (L) foot in front (ct.3)
b) Step R (L) obliquely backward right (left) (ct.1), step L (R) close to
R (L) (ct.2), step R (L) in place (ct.3)
Arms in fourth position R (L) arm high. Kumintang R (L) hand when
pointing with the L (R) foot on cts. 2,3 of the second measure.

Sway balance 2 a) Step R (L) foot obliquely forward right (left) (cts. 1,2), step L (R)
with a raise across the R (L) foot in front (ct.3)
b) Step R (L) obliquely backward right (left) (ct.1), raise L (R) knee in
front (cts.2,3).
Bend body slightly forward on ct.1 and raise gradually upward to erect
position on cts. 2,3. Open arms sideward at shoulder level on the first
three counts (cts. 1,2,3), bend forearms forward and bring hands close
to chest on the next three counts (cts. 1,2,3), or arms in fourth position,
R (L) arm high. If desired forearm turns may be done on the second
measure.

Double sway 4 a) Step R (L) foot obliquely forward right (left) (cts. 1,2), step L (R)
balance across the R (L) foot in front (ct.3)
b) Step R (L) obliquely backward right (left) (ct.1), point L (R) in fourth
in front (cts. 2,3)
c) Step L (R) sideward right (left) acros R (L) in front (cts. 1,2), step R
(L) foot in second position (ct.3).
d) Point L (R) in fourth in front (cts.1,2,3)
Girls holding their skirts, boys hands on waists for the last two
measures (c and d).

Waltz 1 Step R (L) in fourth in front (ct.1), step L (R) close to R (L) in first or
third position in rear (ct.2), step R (L) in fourth in front (ct.3).

Waltz balance 1 Step R (L) in fourth (ct.1), close L (R) foot to R (L) in first and raise
heels (ct.2), lower heels with the weight of the body on the R (L) foot
(ct.3). The knees are slightly bent before raising the heels.
This may be executed forward, backward, and sideward.
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Cross waltz 1 Step R (L) foot across the L (R) in front and raise slightly the L (R) foot
across in rear (ct.1), step L (R) foot close to R (L) in third position in
rear (ct.2), step R (L) foot in fourth in front (ct.3). Step on the ball of the
rear foot on the second count.

Keywords: Patterns, Measure, Time signature

Self-Help: You can also refer to the sources below to help you
further understand the lesson:
Dancing Cultures : Globalization, Tourism and Identity in the Anthropology of Dance, edited by
Hélène Neveu Kringelbach, and Jonathan Skinner, Berghahn Books, Incorporated, 2012.
ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/uniofmindanao-
ebooks/detail.action?docID=1337699.

Moving History/Dancing Cultures : A Dance History Reader, edited by Ann Dils, and Ann Cooper
Albright, Wesleyan University Press, 2001. ProQuest Ebook Central,
https://ebookcentral.proquest.com/lib/uniofmindanao-ebooks/detail.action?docID=1562508.

Let’s Check
Activity 1. Your teacher will execute 10 folk dance steps through video presentation then
you are going to identify the dance steps your teacher is executing. The video will be
uploaded to your BB-LMS.

Activity 2. You are going to create folk dance routine using the dance steps presented in
the lesson, you may choose whether to use 2/4 or ¾ time signature dance steps. This
activity will be done through video that will be uploaded in the BB-LMS. Instruction and
guidelines will be posted in your LMS course.

Let’s Analyze
At this juncture, you will be required to ELABORATE your answers about the
following questions:

1. How dance plays a crucial role in forming and expressing cultural identities of various
regions of the country?
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2. How is it possible that you can create choreography or improvise it?

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3. How can you help in increasing the interest of the young generation in performing
Philippine folk dances?
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In a Nutshell
In this portion of the unit, you will be required to state your arguments or synthesis
relevant to the topics presented. I will supply the first item and you will continue the rest.

1. In performing the different steps in folk dance exaggeration must be avoided, it must
be according to the step pattern of the dance.
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