PHILIPPINE FOLK & ETHNIC DANCES

GRADE 12
2ND QUARTER

NOTE: Do not write anything on this material. Use separate sheets for your answers.

A. BASIC CONCEPT OF FOLK DANCE

 Folk Dancing- is the oldest form of dance probably one of the earliest forms of communication. It is this
self-expression that separates folk dancing from the functional aspects of games and gymnastics in the
physical education program.
 Dance- is the expression of oneself through rhythmic movement. Folk dance, which is also the expression of
oneself, is an expression through patterned movements.
 Folk Dance- may be defined as the traditional dance of a given country which evolved naturally and
spontaneously with every day activities, e,g. Occupations, Customs, Festivals, Rituals, and Innumerable
themes common to all people everywhere. Genuine folk dances are handed down from generation to
generation and are danced by everyday folk of all ages. They are more or less fixed in their pattern, but may
differ in various areas of provinces.
B. PHILIPPINE FOLK AND ETHNIC DANCES
Five Major Classifications of Philippine Folk Dances
 The Dances of the Cordillera Groups
 Western Influenced Dances
 Dances of the Muslim Groups
 Dances of the Tribal or Lesser known groups
 Dances of the Countryside
THE DANCES OF THE CORDILLERA GROUPS
 The ethnic dances in the Philippines are found in the different regions from the Northern part of the Southern
part of the country. The Cordillera groups composed of the Bontocs, Ifugao, Benguet, Apayao, Kalinga,
Itneg, Ilongot and Gaddang (BIBAKIIG) has its own unique Customs and Traditions reflected in their
dance.
 Most of the dances are reflections of daily living.
 They used a metal gongs called Ganza and other percussive instruments to accompany their dances during
rituals, festivities and other social gathering.

EXAMPLES OF DANCES AMONG THE CORDILLERA GROUPS

Ethno linguistic Group Title of Dance Dance Description
1. Pattong  A war dance depicting a mock fight of two
Bontoc 2. Balangbang warriors.
3. Takik/ Dongadong  A victory dance performed after head hunting.
 A courtship and wedding dance.
1. Talip  A courtship dance of the Ifugaos, where a man
lures a woman w/ a blanket to be placed on the
woman shoulder.
Ifugao 2. Intaneg  A wedding dance among the Ifugao.
3. Bumayah  A festival dance among the Ifugao for
thanksgiving in their Gods.
4. Monghimong  A dance among the Ifugaos where men tum up in
a mass at the burial of a murdered tribe member.
5. Dinuya  A festival from Lagawe Ifugao performed by men
and women during Major Feast.
1. Bendean  A festival and victory dance
Benguet 2. Tarektek  A courtship dance where two female tarektek
(woodpeckers) try to get the attention of the male
tarektek by brandishing their blankets over each
other to show their affections.
3. Chumnu  A female dance performed during celebrations of
tribal victory and bountiful harvest
1. Turayen  An Apayao dance imitating the high flying bird.
Apayao 2. Say- Yam  A major feast held to celebrate the taking of a
head of an enemy.
1. Pattong  A dance of revenge vowed for the death of the
Kalinga slain warrior.
2. Salip  A courtship dance where the rooster like male
swoops around the maiden.
  A work dance of Kalinga women where the carry
3. Ragragsakan
baskets on their heads.
4. Takiling  A victory dance after a successful head hunting.
5. Idaw  A mock battle dance ensues between two tribes.
1. Idudu  A dance where the men lull their babies to sleep
Itneg while the women till the fields and process the
harvest.
1. Bumbuwak  In this dance, the Gaddang imitate birds attracted
Gaddang to tobacco trees.
EXAMPLES OF DANCES W/ WESTERN INFLUENCED
Types of Dances Title of Dance Dance Description

1. Rigodon de Honor  A quadrille dance commonly performed in formal

Quadrille Dances gatherings in a quadrille formation.
2. Pasakat  A quadrille dance from Sta. Rosa Laguna
3. Los Bailes de Ayer  A quadrille dance from Tarlac
1. La Jota Moncadena  A festival dance from Moncada, Tarlac which
Jota was originally danced during a funeral procession
in the early times.
2. Jota Cabangan  A courtship dance from Zambales.
1. Pandanggo  A festival dance from province of Bicol depicting
Fandanggo the happy and contented life of the people.
2. Pandanggo sa Ilaw  A dance from Mindoro using tinghoy or oil lamps
placed on top of the head and one on each hand.
1. Valse Vieja  A festival dance from Pangasinan meaning old
Balse 2. Balse Marikina waltz.
 A dance performed after the Lutrina, a religious
3. Carinosa procession.
 The famous national dance of the Philippines
depicting the character of Filipina maiden’s
modesty and humility.
1. Habasinan  From the word “haba” in habanera and “sinan”
Habanera form Pangasinan is a courtship dance.
1. Mazurka Boholana  A traditional dance from Bohol w/c was
Mazurka originally performed by couples informally
gathered in the ballroom with o definite sequence
steps.
1. Polkabal  A dance w/c acquired its name from two well-
Polka known steps polka and valse, corrupted into one
word as polkabal, by the people of Altimonan,
2. Polka sa Nayon Quezon.
3. Maliket-A-Polka  A polka dance version from Batangas
 A polka dance from Pangasinan w/ means happy
polka.

DANCES OF THE MUSLIM GROUPS

 Down of the southern part of the country are the Muslim groups. The ethnic groups are the Maranao,
Maguindanao, Tausug, Yakan, Samal, Java Mapun, and Badjao.
 The dances performed by these groups describe the everyday living of the people.
 Common to their dances are the use of fingers to express feelings and emotions.
 Some belive that muslim dnaces are influence by Malay and Indonesians due to its geographical setting.
EXAMPLES OF MUSLIM DANCES
1. Singkil  A Maranao dance derived from the sounds of the
Maranao bell anklets worn by the princess as she leaps in and
out of the crisscrossed bamboo poles.
2. Kappa Malong Malong  Also called Sambi sa Malong, this Maranao dance
shows the many ways of donning the malong, a
tabular circle of cloth used as skirt, shawl, or
mantle.
1. Asik  A doll dance for girls
Maguindanao
1. Tauti  A dance of fishing scenario
Badjao
1. Pindulas  A dance depicting the movements of fish as it wade
 Yakan in the water.
1. Janggay  A Tausug female dance using extended fingernails.
Tausug  A dance from Jolo Sulu w/ an influence of Chinese
movements meaning “my pomelo tree”.
1. Maglanka  A Samal dance class of girls and women. This
Samal dance depicts the training of Samal girls and
women on the languid and flexible movements of
the arms w/c signifies good breeding.
DANCES OF THE COUNTRYSIDE
 Dances that typically characterize the nature and kind of work of the people.
 Commonly performed by ordinary group of people depicting daily activities.
 Dances were light and more informal.
SOME EXAMPLES OF COUNTRYSIDE DANCES AND ITS DESCRIPTION:
 Binasuan- a dance w/c requires a skill in balancing glasses of wine;
One on top of the head and one each hand.
 Bulaklakan- a dance using arches festooned w/ flowers.
 Kuratong- bamboo noisemakers played by Cuyunen men to company gaily dressed ladies in a boisterous street
parade.
 Maglalatik- a playful dance of young men beating coconut shells, reflective of a mock battle over the “latik” or
coconut residue.
 Pandanggo sa Ilaw- a dance w/c requires a skill in balancing glasses of tinghoy lamps, one on top of the head
and one on each hand.
 Oasiwas- a dance using lighted glasses wrapped in scarves and swayed like beacons for the homecoming of the
fisherman.
 Pasikat sa Baso- a pangasinan dance that requires skill in balancing glasses of wine on the head and hands while
on top of a bench.
 Salakot- a wide brimmed hat used to protect Filipinos from heat and rain.
 Subli- a dance from province of Batangas that reveals the reverence given by the performers to a wooden cross.
 Tinikling- derive from the long-legged Philippine bird called”Tikling” trapped from bamboos poles.
 Bati- a dance performed during Easter Sunday.
 Gayong-Gayong- a game dance
 Binislakan- w/c means sticks, is a Pangasinan dance that bear the Chinese influence.
 Pabirik- depicts the stages of gold panning.
 Kalapati- depicts the movements of dove.
 Inalisan- a lively festival dance from Nangalisan, Laog, Ilocos Norte. Innalis means to transfer from one place to
another.
C. CHARACTERISTICS OF PHILIPPINE FOLK DANCES
1. As rule, dances begin and end w/ a saludo. A saludo is a three step turn in place an a bow to either partner
or audience.
2. In general, dancers are far apart. A distance of about 6-8 feet from each other is normal.
3. There is very little, if any body contact although holding hands is common.
4. Most of the dances are done in pairs, hand movements play a very important role.
5. Many of our dances are done in long formation.
6. Our dances are performed by both young and old and by both sexes.
D. CLASSIFICATION OF PHILIPPINE FOLK DANCES
1. GEOGRAPHY
1.1 National Dances- these are traditional dances throughout the Philippines w/ a common basic
movement or pattern but w/ slight variation. Examples are: Carinosa, Kuratsa, Balitaw, Rigodon,
Pandanggo, and Surtido.
1.2 Local or Regional Dances- these are dances found in certain localities or regions only. Examples are:
Esperanza (Nabua, Camarines Sur), Alcampor (Leyte), Rogelia (La Union), Maglalatik (san Pablo,
Quezon) and Biniganbigat (Abra).
2. NATURE
2.1 Occupational Dances- depicting action of certain occupation, industry or human labor. Examples:
Planting, Harvesting, Pounding, Winnowing, Pabirik, Mananguete, etc.
2.2 Religious or Ceremonial Dances- performed in connection w/ religious vows and ceremonies.
Examples: Dugsu, Sua-ku-sua, Putong, Sta. clarang pinong-pino.
2.3 Comic Dances- depicting funny movements of entertainment. Examples: Makonggo,
Kinoton.
2.4 Game Dances- w/ play elements (dance mixers) Examples: Pabo, Sinenalan, and Lubi-
lubi.
2.5 Courtship Dances- depicting love making. Examples: Hele-hele, Bago Quire, Maramion, Tadek,
Daling-daling, Rogelia, Lulay.
2.6 Wedding Dances- performed during wedding feast. Examples: Pandang-pandang, Soryano and
Pantomina.
 2.7 Festival Dances- suitable for special occasion or any social gathering. Examples: Kuratsa, La Jota
2.8 War Dances- showing imaginary combat or duel. Examples: Sagayan, Palu-palo.
3. MOVEMENTS
3.1 Fast or Active- w/ fast energetic movement. Examples: Tinikling, Maglalatik, Polkabal, Sakuting,
etc.
3.2 Moderate- Examples: Carinosa, Tagala, Habanera, Papuri, etc.
3.3 Slow- Examples: Pasakat, Kundiman
3.4 Slow and Fast- Examples: Putritos, Ba Ingles, Habanera Botolena, Alcampor.
4. FORMATION
4.1 Square- Quadrille- Examples: Rigodon, Los Bailes
4.2 Long Formation- (Two or more parallel lines) Examples: Lulay, Sakuting.
4.3 Set- consisting of two or more pairs as a unit, partners facing each other or standing side by side.
Examples: Binadyong, Haplik, Kakawati, etc.
E. SPECIAL CLASSIFICATION
1. Dances with Songs- Examples: Abaruray, Manang biday, Lulay, Rogelia, Lawiswis Kawayan,
2. Old ballroom Dances- Examples: Polka, Mazurka, Chotis, Valse, etc.
3. Dances with Implements- Examples: Maglalatik, Sakuting, Jota Moncadena, Tinikling, Salakot.
4. Dances with Combined Rhythm- Examples: Surtido, Pantomina, Los Bailes de Ayer, etc.
G. COMMON DANCE TERMS
1. Arms in Lateral Position- Both arms are at one side, either right or left; at shoulder, chest, or
waist level.
2. Brush- Weight on one foot, hit the floor with the ball or heel of the other foot, and lift that foot
from the other floor to any directions.
3. Cabeceras- The couples occupying the width of the hall when dancers are in square formation
(head couple).
4. Clockwise- Like the motion of the hands of the clock. R shoulder is toward the center of an
imaginary circle.
5. Counterclockwise- The reverse direction of clockwise. L shoulders toward the center. Movement is
toward right when facing center of circle.
6. Costados- The couple occupying the length of the hall when dancers are in square formation (side pairs)
7. Crossed Arms- Partners facing each other or standing side by side join their L hands together and the R
hands together, either R over L or L over R hands.
8. Cut- To displace quickly one foot with the other.
9. Do-si-do (Dos-a-Dos)- Partners advance forward, pass each other’s right (or Left) side, step across to the
right (or left) move backwards without turning around, pass each other left (or right) side proper places.
10. Free Foot- The foot not bearing the weight of the body.
11. Free hand- The hand not place anywhere, or not doing anything.
12. Hayon-Hayon- To place one forearm in front and the other at the back of the waist.
13. Hop- A spring from one foot landing on the same foot in place or in any direction.
14. Inside foot- The foot nearer the partner when partner stand side by side.
15. Jaleo- Partners turn around clockwise (with R elbow most touching) or counterclockwise (with L elbows
touching) using walking or any kind of dance step.
16. Jump- A spring on one foot or both feet landing on both feet in any direction.
17. Kumintang- Moving the hand from the wrist either in clockwise or counterclockwise direction.
18. Leap- A spring from one foot, landing on the other foot in any direction.
19. Outside foot- The foot away from one’s partner, when partners stand side by side.
20. Outside hand- The hand away from one’s partner when partner stand side by side.
21. Place- To put foot in a certain position without putting weight on it; the sole of the foot rests on the floor.
22. Pivot- To turn with the ball, heal, or whole foot, on fixed place or point.
23. Point- Touch the floor lightly with the toes of one foot, weight of the body on the other foot.
24. Salok- Swinging the arm downward- upward passing in front of the body as if scooping; the trunk is bend
forward following the movement of the arm during the salok.
25. Saludo- Partners with feet together bow to each other, to the audience, opposite dancers, or the neighbors.
26. Sarok- Cross the R (or L) foot in front of the L (or R) bend the body slightly forward and cross the hands
down in front with the R (or L) hand over the L (or R).
27. Set- A dance formation like a square or a unit formation composed of two or more pairs.
28. Slide- To glide foot smoothly along the floor.
29. Stamp- To bring the foot forcibly and noisily on the floor.
30. Step- To advance or recede by moving one foot to another resting place with a complete transfer of
weight from one foot to other.
31. Supporting foot- The foot that bears the weight of the body.
32. Tap- To rap slightly with the ball or toe of the free foot keeping weight of the body on the other foot.
There is no transfer of weight.
33. Whirl- To make fast turns by executing small steps in place, to right, or to left.
Dance Steps/ Time Counting Step Pattern No. of
 signature Measures
Polka Series – 2/4
 Plain Polka 1&2& Step, Close Step (Pause) 1
 Hop Polka ah 1 & 2 & Hop, Step, Close Step (Pause) 1
 Heel and Toe Polka 1,2, 1 & 2 & (Pause) Heel-Place, Toe-Point, Step 2
 Slide Polka 1 & 2 &, 1 & 2 & Close Step (Pause) Slide, Close, Slide 2
Close, Step, Close Step (Pause)
Waltz Series - 3/4
 Native Waltz 1,2,3 Step, close, step 1
 Waltz Balance 1,2,3 Step, Close and raise heels up, down 1
 Cross Waltz 1,2,3 Cross-step, close, step 1
Sway Balance Series- ¾
 With a Point 1,2 3 1 2,3 Step, cross-step/ step, point 2
 With a Waltz 1,2 3 1 2 3 Step, cross-step/ step, close, step 2
 With a Hop 1,2 3 1 2 3 Step, cross-step/ step, raise, hop 2
 With a Brush 1,2 3 1 2,3 Step, cross-step/ step brush 2
 With a Raise 1,2 3 1 2,3 Step, cross-step/ step, raise 2
 With a Close 1,2 3 1 2,3 Step, cross-step/ step, close 2
 Double Sway Step, cross-step/ step, point/ cross-step, 4
Balance step/ point
Bleking – 2/4 or 1 2 Heel-place, close 1
3/4 1,2 3 Heel-place, close 1
Change Step- 2/4 1 & 2 Step, close, step 1
Cross Change Step- 2/4 1 & 2 Cross-step, close, step 1
Contra- ganza- 2/4 1 & 2 Leap (Sideward), cross-step, step 1
Habanera – 2/4 1 2 & Step, close, step 1
Haplik- 2/4 1212 1&2 121& Step, step, hop, hop, step, step, step, 8
2 1 2 1 2 1,2 (turning), hop, hop, step, step, step
(turning) hop, hop, step, step, close
(pause)
Kuradang- 3/4 1&231&23 Step, close, step, cross-step, step, close, 2
step, pause
Mazurka – 3/4 1 2 3 Slide, cut, hop 1
Redoba- 2/4 1 2 3 Slide, cut, cut 1
Sagamantica - 1 2,3 1 2,3 1 2,3 1 2,3 Step, close, step, close, step, close, raise, 4
heel-place
Engano Series- ¾
 With a waltz 1,2 3 1 2 3 Step (sideward) cross; step, close, step 2
 With a Close 1,2 3 1 2,3 Step (sideward); step, close 2

EXAMPLE OF INTERNATIONAL FOLK DANCES

DANCE ORIGIN
 HORRA ARABI ARABIA
 CHINESE FAN DANCE CHINA
 DANISH DANCE OF GREETING DENMARK
 NAPOLEON
 BARBARY BELL ENGLAND
 MINUET FRANCE
 PUTJENTER GERMANY
 VARSOUVIENNE
 DUTCH COUPLE HOLLAND
 CSHEBOGAR HUNGARY
 IRISH LILT IRELAND
 TARANTELLA ITALY
 JAPANESE PARASOL DANCE JAPAN
 KALVELIS LITHUANIA
 LA CUCARACHA MEXICO
 NORWEGIAN MOUNTAIN MARCH NORWAY
 OYDA RUSSIA
 HIGHLAND FLING SCOTLAND
 SWEDISH CLAP DANCE SWEDEN
 LA PETITE UKRAINIENNE UKRAIN
 SUSANA USA
 HOT TIME IN THE OLD TOWN
 THE GIRL I LEFT BEHIND

SOME COMMON FOREIGN FOLK DANCE STEPS

Dance Steps/ Time Signature Counting Step Pattern No. of
Measures
Three small steps forward on the
MINUET- 3/4 123123 balls of the feet, point L ® in front 2
and bring heel of the R down.
1234 Step R sideward,close L to R, step
RHEILANDER STEP- 4/4 R sideward, hop on R, swing the L 1
foot in front.
123123 Slide R foot diagonally forward R,
VARSOUVIENNE STEP- 3/4 step L close to R in third position, 2
step R sideward, point L foot in
front.

INDIVIDUAL PERFORMANCE ACTIVITY

(VIDEO PRESENTATION)

 PERFORM THE FOUR DANCE STEPS W/ TIME SIGNATURE.

1. HAPLIK- 2/4
2. SLIDE POLKA- 2/4
3&4. ENGANO Series
With a waltz and With a Close- ¾
CRITERIA:
 Proper Execution (50 pts)
 Correct Step Pattern with clear voice (30 pts)
 Overall Presentation (20 pts)
 Total: 100 pts.

Prepared by:

JENNIE ANN A. WANCE

Teacher III/ PE & Health

PHILIPPINE FOLK & ETHNIC DANCES

HOPE 12
1ST QUARTER
 ANALYZING TEST
NAME: ___________________________ SECTION: ______________ DATE: ____________
I. Multiple Choice
Directions: Read the sentences and questions that follow, encircle that corresponds to your answer.
1. Mr. Rio instructed his students to do the KUMINTANG. What will be the correct movement execution of his students in
doing the KUMINTANG?
A. The students will move their hand from the wrist in a clockwise or counterclockwise direction.
B. The students will move their hand from the elbow in a clockwise or counterclockwise direction.
C. The students will move their hand from the shoulder in a clockwise or counterclockwise direction.
D. The students will move their hand from the upper extremities in a clockwise or counterclockwise direction.
2. The class of Mr. Cruz is dancing the Polkabal. One of the basic steps in the dance is the contraganza. If Mr. Cruz will
demonstrate the step pattern of the dance step, which of the following will show the correct movement pattern?
A. Step, close Step C. Slide, cut, cut
B. Cross-step, close, step D. Leap, cross- step, step
3. The music is in 4/4 time signature and the step pattern used is step R sideward, close L to R, step R sideward, hop on
R, swing the L foot in front. What foreign dance step is being described?
A. Minuet C. Rheilander
B. Varsouvienne D. Prysiadka
4. All of the following are correct except
A. Waltz- ¾ time signature C. Polka- ¾ time signature
B. Mazurka- ¾ time signature D. Sway balance- ¾ time signature
5. It is a work- dance of Kalinga women where they carry baskets on their heads.
A. Idudu C. Bumayah
B. Ragragsakan D. Bendian
6. Of the following patterns of movements, the one that best describes the mazurka step is _______.
A. Slide, cut, hop C. slide, slide, hop
B. Hop, slide, close D. hop, cut, and slide
7. Which of the following associations is incorrect?
A. Cordillera dances of Luzon C. Mangyan dances of Nueva Vizcaya
B. Tausug dances of Mindanao D. Ibanag dances of Cagayan
8. Each of the following pairs of folk dance steps can be performed in combination except the _______.
A. Waltz and redoba C. Waltz balance and paso espanol
B. Polka and mazurka D. Cross waltz and step, swing, hop
9. Which of the following dance steps has an incorrect time signature in 2/4 time music?
A. Haplik C. Polka
B. Contraganza D. Sagamantica
10. All are four measures of music and beyond except ________.
A. Double sway balance C. Haplik
B. Madunsa D. Mazurka
11. Common among rural or countryside dances are the use of implements in their dance. They offer the glass of wine, a
hanky, a hat, or even their own hands to somebody as a sign of invitation or love. This characterizes to a dance term
means _______.
A. Salok C. Hapay
B. Sarok D. Bilao
12. Which of the following dance steps has eight measures?
A. Bacui C. Haplik
B. Chotis D. Sagamantica
13. Masiwak is a common dance term among the ________.
A. Ilocano C. Tagalog
B. Ibanag D. Visayan
14. MCXYN is demonstrating the correct movement of Hayon- hayon. Which of the following is the correct movement
pattern that MCXYN will show?
A. She will place her forearm in front and the other at the back of his waist.
B. She will cross her arms in front and open it to second position.
C. She will place both his arms one side.
D. She will scoop his one arm up to fifth position.
15. Daylan is instructed by her PE teacher to do the habanera step. The step pattern that he will use is step, close, step
and the counting to follow is _______.
A. 1 and 2 C. 1 2 and
B. 1 2 D. 1 2 3
16. Colleen is performing a sway balance with a waltz in her dance class. The counting that she will use when doing the
sway balance with a waltz is ______.
 A. 1, 2 3/ 1 2 3 C. 1, 2 3/ 1, 2 3
B. 1, 2 3/ 1 2, 3 D. 1, 2 3/ 1, 2, 3
17. Ms. Wance asked his students to do a combination of the following dance steps; change step, heel and toe change
step, polka, heel and toe polka. She advises his students to get a folk dance music to accompany the combinations.
What time signature the students will look for?
A. 2/4 time music C. 4/4 time music
B. ¾ time music D. 6/8 time music
18. Which of the following is a visayan dance term?
A. Bilao C. Salok
B. Jaleo D. Sarok
19. It is called the unit of formation.
A. Cabeceras C. Home position
B. Costados D. Set
20. Roldan is instructed by her PE teacher to turn to the girl at his left and takes her L hand in his L hand and turns her
once around counterclockwise, then both falling back to places. The movement performed by Roldan is called ____.
A. Allemande right Buzz step
B. Allemande left D. Elbow swing
21. Of the following dance steps, which can be performed in ¾ time music?
A. Break legs C. Dutch Step
B. Hopsa D. Reighlander step
22. Three small steps forward on the balls of the feet, point L infront and bring heel of the R down is the step pattern of
_______.
A. Dutch step C. Rubber Legs
B. Prysiadka step D. Minuet step
23. Partners are side, L shoulders toward the center holding in a skating position (R hands joined over the joined L hands)
at waist level or in varsouvienne position, they walk around in a counterclockwise direction until they reach their
home position, this called ______.
A. Allemande Right C. Promenade
B. Allemande Left D. Elbow swing
24. It is one of the most common dance steps used in American square dance.
A. Stamp C. Cross over
B. Cast off D. Do- si-do
25. The national artist in dance who is also known as the Mother of Folk Dances is _____.
A. LUCRESIA URTULA C. LEONOR OROSA GOQUINGCO
B. RAMON A. OBUSAN D. FRANCISCA REYES AQUINO

Prepared by:
Subj. Teacher

________________________
Student’s Signature

________________________
Parent’s Over Printed Name Signature

Date:_________

I. Multiple Choice
Directions: Read the sentences and questions that follow, blacken the circle that corresponds to your answer.

0 0 0 0 1. How can you tell if learning has taken place to a performer in Folk dance?
A. Accepts positive feedback C. Proud of his/her performance
B. Does a skill correctly only one time D. Performance consistently shows improvement
0 0 0 0 2. It is the National dance of the Philippines.
A. Carinosa B. Maglanka C. Tinikling D. Kandingan
0 0 0 0 3. Which of the following ethno linguistic group belong the war dance depicting a mock fight of two warriors?
A. Bontoc B. Ifugao C. Kasibu D. Benguet
0 0 0 0 4. Which is the oldest form of dance probably one of the earliest forms of communication?
A. Folk dance B. Dance C. Dancers D. Folk dancing
0 0 0 0 5. Which of these traits expresses self-assurance in one’s own ability to complete a difficult task or meet
a challenge in dancing?
A. Goal-oriented B. Risk-taker C. Hardworking D. Self-confidence
0 0 0 0 6. Subli is a dance honoring the wooden cross. It originates from_____________.
A. Bohol B. Batangas C. Cavite D. Mindoro
0 0 0 0 7. Which of these competencies in dancing makes a personal sacrifice or applies extraordinary effort?
A. Committed B. Risk-taker C. Coping up with failure D. Self-confidence
0 0 0 0 8. Which of the following is a social reason that might affect participation in physical activities?
A. Family B. Equipment C. Weather D. Facilities
0 0 0 0 9. Which of the following activities does NOT help optimize one’s health?
A. Exercise B. Eating Fruits C. Drinking liquor D. Drinking plenty of water
0 0 0 0 10. The human body compared to a ______ that needs utmost care in order to function well.
A. Tree B. House C. Machine D. Compressor
0 0 0 0 11. How can you tell if learning has taken place to a performer in folk dancing?
A. Accepts positive feedback C. Performance consistently shows improvement
B. Does a skill correctly only one time D. Proud of his/her performance
0 0 0 0 12. They are called “ Peacocks of the Mountain”.
A. Bontoc B. Benguets C. Kalinga D. Ifugaos
0 0 0 0 13. It is a dance among the Apayaos imitating the highflying bird.
A. Bedian B. Pattong C. Say-yam D. Turayen
0 0 0 0 14. Which of these competencies in folk dancing makes a personal sacrifice or applies extraordinary effort?
A. Committed B. Risk-taker C. Coping up with failure D. Self-confidence
0 0 0 0 15. It is derived from the long- legged Philippine bird called “tikling” trapped from bamboo poles.
A. Carinosa B. Maglanka C. Tinikling D. Kandingan
0 0 0 0 16. Which dance a lively festival dance from Nangalisan, Laoag, Ilocos Norte. Innalis means to transfer?
A. Inalisan B. Pattong C. Tinikling D. Kandingan
0 0 0 0 17. Which means sticks, is a Pangasinan dance that bear the Chinese influence?
A. Kalapati B. Pattong C. Binislakan D. Kandingan
0 0 0 0 18. Grade 12 students administer the physical fitness test(PFT), which activity used as the body movement slows
down until the pulse out over a relatively long period of time.
A. Cool down B. Relaxation C. Warm-up D. Aerobics
0 0 0 0 19. Grade 12 students administer the physical fitness test, which test to measure the strength of the abdominal
muscles?
A. Sit- ups B. Sit and reach C. Flexed arm hang D. 1000 M Run
0 0 0 0 20. Which of these traits expresses self-assurance in one’s own ability to complete a difficult task or meet
a challenge?
A. Goal-oriented B. Risk-taker C. Hardworking D. Self-confidence
0 0 0 0 21. Jedeec takes responsibility as a group leader in the performance of folk dance that necessary to achieve their
goals and objectives. What trait does she show?
A. Coping up with failure C. Setting own standard B. Willing to listen D. Self-confidence
0 0 0 0 22. Which of the following rules of brainstorming or group activities in physical education that does NOT hitch hike
zany or crazy ideas?
A. Don’t criticize the ideas of others C. Freewheeling is encouraged
B. Quantity is desirable D. Combine and improve upon the ideas of others.
0 0 0 0 23. Brailian is shy type person. Why individuals are motivated to perform in folk dancing?
A. Self- regulation B. Self- esteem C. Self- confidence D. Self- love
0 0 0 0 24. Dwane is a dancer. What benefits does physical activities like dancing be include?
A. Physical well- being C. Increased of a certain disease
B. Decreased longevity D. Stressful life
0 0 0 0 25. Grade 12 students required to perform in folk dancing, which dance requires a skill in balancing glasses of wine?
A. Binasuan B. Karatong C. Itik itik D. Carinosa
0 0 0 0 26. Stem 12 performed the folk dance, which dance using the bamboo noisemakers played by Cuyunen men to
accompany gaily dressed ladies they performed?
A. Binasuan C. Carinosa C. Itik itk D. Karatong
0 0 0 0 27. Jedeen perform a set patterned movements. Which is the expression of oneself through rhythmic movement?
A. Dance B. Folk Dance C. Aerobics D. Dance circular pattern
0 0 0 0 28. Which dance depicting funny movements for entertainment? Examples: Makonggo and kinoton.
 A. Comic dances B. Game dances C. Courtship dances D. Wedding dances
0 0 0 0 29. Masiwak is a common dance term among the __________.
A. Ilocano B. Ibanag C. Tagalog D. Visayan
0 0 0 0 30. Which dance is suitable for special occasion or any social gathering? Examples: Kuratsa, La jota, Pandanngo.
A. Courtship dances B. Festival dances C. Comic dances D. Game dances
0 0 0 0 31. The type of dance which performed in social gathering to honor the guest.
A. Pantomina B. Pandanggo C. Papuri D. Putritos
0 0 0 0 32. Which Samal dance class of noble women shows off women’s dexterity and flexibility of the shoulders, elbows
and wrist joints?
A. Sua- Sua B. Maglanka C. Janggay D. Kandingan
0 0 0 0 33. This is a dance among the Maranaos which displays the women’s simplicity and elegant walk with the use of
beautifully decorated umbrellas.
A. Sagayan B. Kapamalong C. Pag-aper D. Kakulangan
0 0 0 0 34. This is Palawan’s famous ceremonial rite of healing the sick, imploring and thanksgiving for a good and bountiful
harvest.
A. Pagdidiwata B. Blit-blaan C. Binaylan D. Sohten
0 0 0 0 35. Which dance is the oldest form of dance probably one of the earliest forms of communication.
A. Folk Dancing B. Dance C. Ethnic Dance D. Folk Dance
0 0 0 0 36. Which dance in Benguet where a female dance performed during celebrations of tribal victory and bountiful
harvest?
A. Talip B. Chumnu C. Binaylan D. Sohten
0 0 0 0 37. Jedz is from Apayao province and he is aware of all the dances in Apayao. Which dance in there province is
imitating the high flying bird?
A. Turayen B. Chumnu C. Idaw D. Sohten
0 0 0 0 38. Which can be defined as the traditional dance of a given country and evolved naturally and spontaneously with
every day activities? Examples: Occupations, customs, festivals and rituals.
A. Dance B. Folk Dance C. Ethnic Dance D. Folk Dancing
0 0 0 0 39. Ifugao tribe has a courtship dance, which title of Ifugao dance where a man lures a woman with a blanket to
be placed on the woman shoulder?
A. Talip B. Tarektek C. Binaylan D. Sohten
0 0 0 0 40. Dwane is shy type person. Why individuals are motivated to perform in folk dancing?
A. Self- regulation B. Self- esteem C. Self- confidence D. Self- love

Prepared by:
Subj. Teacher

________________________
Student’s Signature

________________________
Parent’s Over Printed Name Signature

Date:_________

MAGLALATIK-
During the Spanish regime, the present barrios of Loma and
Zapote of Biñan, Laguna, were separated. With coconut shells as
implements the people of these two barrios danced the
Maglalatik, or Magbabao, a war dance depicting a fight
between the Moros and the Christians over the latik (residue left
after the coconut milk has been boiled).

PANDANGGO SA ILAW-
 This popular dance of grace and balance comes from Lubang Island, Mindoro in the Visayas region. The term
pandanggo comes from the Spanish word fandango, which is a dance characterized by lively steps and clapping
that varies in rhythm in 3/4 time. This particular pandanggo involves the presence of three tinggoy, or oil lamps,
balanced on the head and the back of each hand.

TINIKLING-
this 'Visayan' dance was found in Leyte where this dance originated. Dancers imitate the tikling bird’s legendary
grace and speed as they skillfully play, chase each other, run over tree branches, or dodge bamboo traps set by rice
farmers. Hence it is named after the bird, tikling. this version of the dance is done
between a pair of bamboo poles.

BULAKLAKAN-
this dance is a dance of floral garlands, dedicated to the Virgin
Mary during the Roman Catholic celebration of their holy week. It is performed widely during the month of early May.
“Bulaklakan” refers to green orchids and other flowering plants. The town of Bulacan derived its name after
bulaklakan because of the natural floral growth in that area.

WHAT IS THE IMPORTANCE OF FOLK DANCE?

ANSWER:
Primarily, it keeps a culture of people alive, by sharing and teaching younger generations the dances. Dance
keeps the history of people alive as well. Dances are ways a community celebrates a special event or important date
in time.

DANCES OF THE PHILIPPINE COUNTRYSIDE

Dances that are best known, and closest to the Filipino heart are
those from the rural Christian lowlands: a country blessed with so
much beauty. To the Filipinos, these dances illustrate the fiesta
spirit and demonstrate a love of life. They express a joy in work,
a love for music, and pleasure in the simplicities of life.

SO WHY IS IT IMPORTANT FOR US, AS DANCERS, TO HAVE A KNOWLEDGE AND

UNDERSTANDING OF DANCE HISTORY?
History allows us to gain a better understanding surrounding the events, challenges, and celebrations that
helped to form the people who developed our art form.

Five Life Skills Learned Through Dance

 1: Teaches Teamwork and Accountability. Every dancer has experienced being part of a team at least
once in their lives. ...
 2: Increases One's Responsibility. ...
 3: Helps Improve Determination. ...
 4: Lets People Stay Creative. ...
 5: Teaches Flexibility.

What is the importance of dance in our life?

Dancing can be a way to stay fit for people of all ages, shapes and sizes. It has a wide range of physical
and mental benefits including: improved condition of your heart and lungs. increased muscular
strength, endurance and motor fitness.

5 Life Lessons I've learnt from Dance

 Teamwork skills. Working with other people is never easy. ...
 Self-initiative and discipline. As a child, it takes a while to learn that if you want something, sometimes you
have to work extra hard to get it. ...
 Time Management. ...
 Creativity. ...
 Passion and Perseverance.