MODULE 1 - Binatbatan

Meaning of Folk Dance 2. Religious or Ceremonial Dances – are dances being

performed in connection with religious vows, practices
Folk dance is a traditional, communal dancing that has
and ceremonies. It may be performed to drive away evil
been handed down from generation to generation and
spirits (like Sinurog) , thanksgiving or in honor of Patron
performed as a recreational activity, It is also a country’s
Saints.
cultural dance which portrays the people’s ideals, mores,
thoughts and feelings by means of body movements. It Examples:
also expresses the nation’s sentimentality and
Dugsu – Bukidnon Northeast Mindanao
creativeness.
Putong
This dance makes use of the traditional costumes and
accessories, which help in preserving a culture’s identity Sta. Clarang Pinung – Pino
and connection with its past.
Bumayon
Classification of Philippine Folk Dances
Pagdiwata – Palawan
A. Geographical extent of origin
3. Comic Dances – are dances with amusing and funny
1. National Dances – are traditional dances throughout movements mainly intended for entertainment
the Philippines with a common basic movement or Examples: Kimbo-kimbo, Kinoton, Makonggo
pattern but with slight variations.
4. Wedding Dances – are dances being performed by
Examples : Cariñosa, Rigodon, Jota, Balitaw, Pandanggo newly weds, friends and relatives of the bride and
groom, or by the father of the bride and the mother of
2. Local or Regional Dances – are dances found in
the groom.
certain localities or regions only.
Examples:
Examples:
Partomena – Albay
TInikling – Leyte
Kandingan
Maglalatik – Binyang Laguna
Panasahan
Esperanza – Nabua
5. Game Dances – are dances that have some play
Subli – Batangas
elements and are performed for recreational purposes.
BIniganbigat – Abra Most of these are dance mixers.

B. Nature of Philippine Folk Dance: Examples: Lubi-lubi, Pavo

1. Occupational Dances – are dances that depicts action 6. Courtship Dances – are dances depicting flirting,
characterizing certain occupation, industries and phases affectionate movements.
of human labor.
Examples:
Examples:
Daling-Daling
- Planting Rice
Saguin-Saguin
- Pounding
Cariñosa
- Harvesting
Tadek
- Winnowing
Maramion
- Pabirik
Hele-hele Bago Quierre
- Mananguete
Kumakaret – Pangasinan
2
Palakis – Western Bontoc
4 1 2
7. Festival Dances – are dances being performed in
connection with celebration, feast, Barrio Fiesta, good
harvest and good fortune. 3

Examples: 4 1 2 3

Pandanggo
4
Habanera
4 1 2 3 4
Jota
C. Kinds of rhythm the duple 2 beats, the triple 3 beats,
Surtido the quadruple beats. The kind of notes and the relative
value of notes.
Pangalay – Sulu

8. War Dances – are dances intended to show imaginary

Whole note 4 beats
combat or duel with the use of fighting implements like Half note 2 beats
bolo, kris or spear. Quarter note 1 beat
Examples: Palu-Palo, Pattong, Sagayan Eighth note ½ beat
Sixteenth note ¼ beat

MODULE 2
Pyramid of notes
A. Draw the 5 Fundamentals Dance Positions of the One whole
arms and feet in Folk Dance, as described. Afterwards note
execute them all.

ARMS FEET Two halves

1st: Raised arms to a 1st: Bring heels closed to note
circle in front of the chest touch, toes apart
2nd: Open arms 2nd: Bring feet apart
Four
sideward, raised below sideward
quarter
shoulder level with a
graceful curve. note
3rd: Raised one arm over 3rd: Bring the heel of one
head other arm remains foot to touch the instep Eighth –
in second position. of the other foot. eighteenth
4th: Raise one arm in 4th: Bring one foot in note
front of chest in a half front of the other foot.
circle while one arm Sixteen –
remains overhead sixteenth
5th: Raise both arms over 5th: Bring the heel of one note
head in a graceful curve. foot to touch the toe of
the other.

Common Time Signature used in Folk Dance

2 - upper no. tells the no. of beat in a measure

4 - lower no. tells the kind of note that receives 1 beat

 D. The dance steps have been MODULE 3
grouped according to:
A. 2 Dance Steps Step pattern and The Following are the common Dance Terms in
counting Philippine Folk Dance:
4
1. Abracete – Girl at the right side, holds Right arm of
1. Touch step Point, close
partner with her Left hand, freehands down at the
1 2
sides. This terms is of Spanish and is used in Rigodon
2. Bleking Heel place, close
1 2 and in other
3. Close step Step, close dances
1 2
4. Hop step Step, hop 2. Arms in Lateral Position – both arms are at one side,
1 2 either sideward right or left.
5. Slide step Slide, close
1 2 This may be done at shoulder chest or waist level.
6. Change step Step, close, step 3. Arms in Reverse “T” position – Arms are side
1 and 2 horizontal, elbows bent at right

B. 3 Dance Steps Step pattern and angles, forearms parallel to head, palms forward or
counting facing inward, fists loosely closed.
4
1. Cross Cross step, close 4. Bilao – To turn hands up and sown alternately, hands
Step step at waist level in front, elbows
1 2 3 close to waist.
2. Waltz Step, closed-heels
balance raise, heels down 5. Brush – Weight on one foot, hit the floor with the ball
1 2 3 or heel of the other foot (the
3.Mazurka Slide cut hop
1 2 3 free foot) after which that foot is lifted from the floor to
4. Redoba Slide cut, cut any direction.
1 2 3
6. Cabeceras – When dancers are in square formation,
5. Sway Step, cross step,
the couples occupying the
balance step, point
with a 1 2 3 1 2 3 width of the hall are called “cabeceras” or head couples.
point This is of Spanish origin.

7. Clockwise – Like the motion of the hands of the clock.

C. 4 Dance Steps Step pattern and counting Right shoulder is toward the
4 center of an imaginary circle. When facing center, the
1. Chotis Brush, raise, Brush, raise movement is toward the left.

1 2 3 4 8. Counterclockwise – The reverse direction of

clockwise. Left shoulder is toward the
2. Escotis Step, close. Step, hop
center of an imaginary circle. When facing center, the
1 2 3 4 movement is toward the right.
3. Schottische step, close, step hop, (raise foot in 9. Costados – When Dancers are in square formation,
Step front) the couples occupying the
1 2 3 4 length of the hall are called “costados” or side pairs.
This is of Spanish origin.
10. Crossed arms – Partners are facing each other or 19. Hayon –Hayon – To place one forearm in front and
standing side by side, girl at the the other at the back of the

right of boy. They join their Left hands together and waist. This is a Visayan term.
their Right hands together either
20. Hop – A spring from one foot landing on the same
Right over Left or Left over Right hands. foot in place or any direction (in

11. Cross- Over – Two couples (the vis-à-vis) are front, in rear, sideward or across).
opposite each other. Each couple
21. Inside Foot - The foot nearest one’s partner, when
proceeds in a straight line to the opposite place. The girl partners stand side by side.
pass by their Left shoulders
22. Inside Hand – The hand nearest one’s partner, when
between the boy. Boys bow to each other when they partners stand side by side.
meet at the middle or at about
23. Jaleo – Partners turn once around clockwise (with
one-third of the way, then proceed to the opposite right elbows almost touching) or
place. Upon reaching the opposite
counter clockwise with left elbows almost touching)
place, partners turn about, girls stand at partners’ right using walking or any kind of dance
side.
step. The hands near each other are on waists. This is a
12. Cut – To displace quickly one foot with the other, tagalong term but is of Spanish
thus completely taking off the
origin.
weight of the body from the displaced foot.
24. Jump – Spring on one foot or both feet, landing on
13. Do-Si-Do(“Dos-a-Dos”) – The vis-à-vis (opposite) both in any direction.
both advance forward, pass
25. Kumintang – Moving the hand from the wrist either
each other’s right (or left) side, step across to the right in a clockwise or
(or left), move backward without
counterclockwise direction. This is an Ilocano term.
turning around pass each other’s left (or right) side to
26. Leap – A spring from one foot landing on the other
proper places. This is of foreign
foot in any direction(forward,
origin and is used in many Philippine dances.
sideward, backward or oblique)
14. Draw – To pull one foot along the floor close to the
27. Masiwak – To turn the hand from the wrist half-way
other which has the weight of
clockwise then raise and lower
the body The weight may or may not be transferred.
wrist once or twice. This is an Ibanag term.
15. Free Foot – The foot no bearing the weight of the
28. Outside Foot – The foot away one’s partner, when
body.
partners stand side by side.
16. Free Hand – The hand not place anywhere or not
29. Outside Hand – The hand away from one’s partner,
doing anything.
when partners stand side by
17. Hand on Waist – Place hands at the waist line (at the
side.
smallest part of the trunk),
30. Place – To put the foot in a certain or desired
knuckles in, fingers pointing in rear.
position without putting weight on it.
18. Hapay – To flourish or offer a handkerchief, hat or
The sole of the foot rests flat on the floor.
glass of wine to somebody as a

sign of invitation.
31. Point – Touch lightly with the toes of one foot, 1. Single circle, facing clockwise
weight of the body on the other.
2. Single circle, facing counterclockwise
32. Saludo –partner bow to each other, to the audience,
3. Single circle, facing partner
opposite dancers, or to the
4. Single circle, facing center
neighbor.
5. Double circle, partners facing clockwise
33. Sarok – Cross the Right (or left) foot in front of the
Left (or right), bend the body 6. Double circle, partners facing
slightly forward and cross the hands down in front with 7. Double circle, couples facing
the Right (Left) hand over the
8. Square or quadrille formation
Left(Right).
9. Double line, facing front
34. Set – A dance formation like a quadrille or a unit
composed of two or more pairs. 10. Double lines, partners facing

35. Stamp – To bring down the foot forcibly and noisily 11. Scatter formation in pairs
on the floor (like doing heavy 12. Several lines or long open formation
steps). 13. Semi-Circle or half moon
36. Star with the Right Hand – Four or more people
advance to the center and join
MODULE 4
Right hands and circle around clockwise using walking
or change or any other step. Directions: Read, analyze, interpret and execute
accurately the dance steps of the literature of dance
37. Star with the left hand – same as “Star with the “Tiklos”, where students and teachers demonstrate in
Right hand” only join Left hands this part.
and counterclockwise. Music A
38. Step – To advance or recede by raising and moving Partners face front, Throughout this figure, Girl holds
one foot to another resting her skirt, Boy places hands on waist.
place. There is a complete transfer of weight from one (a) Starting with the R foot, take two heel and toe
foot to the other. change steps forward – 4M
39. Tap – To tap lightly with the ball or tip of the toe, (b) Execute change step sideward, R and L – 2M
placing weight of the body on the
(c) Starting with R foot, take four steps backward to
foot. There is no change or transfer of weight here. proper places – 2M
Creative dance is the end product of exploration and (d) Repeat all (a-c) – 8M
improvisation of movement
Music B
as the dancer or the choreographer expresses his
feelings or emotions, ideas, and Partners face front. The same hand position as in figure
I
interpretations. This is a dance with a definite form, a
beginning and an ending that can (a) Cut L backward (ct.1) cut R forward (ct.2) Repeat all
(cts 1,2 – 2M)
be seen through the various formations all throughout
the performance. (b) Take three gallop steps sideward right (cts.1 ah 2,
ah,1,ah) Step R foot sideward – (ct.2) – 2M
Formations commonly used in Philippine Folk Dances:
(c) Repeat (a) Starting with R cut backward – 2M Count is, one and, two, and to a measure. Music is
composed of three parts A,B and C, Formation, when
(d) Repeat (b) going sideward left – 2M
performed for demonstration, dancers may be grouped
(e) Repeat all (a-d) – 8M into sets of four pairs in square formation, each couple
occupying a corner or a side of an imaginary square or
Music A they may be arranged in longways formation.
Partners face each other. Throughout this figure clap When performed as a ballroom dance, partners may
hands in front of chest in this manner: Clap three times face in any direction and are scattered about the room.
(cts.1 and 2). Clap twice (cts 1,2). Do this for sixteen
measures. Note: Boy starts with L foot and Girl, with the R foot in
figure I,II and III.
(a) Execute change step sideward, starting with R foot
(cts. 1 and 2) hop on R and raise L knee in front swinging Introduction
L foot obliquely right backward across R knee Infront
Music introduction.
(ct.1), hop on R and swing L foot obliquely left forward
(ct.2) – 2M Partners face audience, inside hands joined, free hand
of Girl holding skirt, that of Boy placed on waist.
(b) Repeat (a) starting with the L foot – 2M
(a) Tap R foot on every count of the measure…8M
(c) Execute a three step turn right in place (cts. 1,and 2).
Point L Infront (ct.1), point the same foot close to R (b) Partners hold on closed ballroom dance position to
(ct.2) – 2M get ready for figure I. 4M

(d) Repeat (c) starting with L foot and turning left – 2M -I-

(e) Repeat all (a-d) – 8M Music A

Music B Extended arms toward audience.

Partners face each other. The same position of hands in (a) Starting with L(R) foot, take four polka steps around
figure I. clockwise finishing in original position…4M

(a) Take two touch steps in front (R-L) – 2M (b) Point L(R) sideward (cts. 1, point L(R) close to R(L)
(ct.2). Take one polka step sideward left (right) (cts. 1,
(b) Jump to cross R in front of L (ct.1), jump to cross L
and, 2, and)…2M
Infront of R (ct.2). jump to cross R Infront of L (ct.1)
jump to close R to L (ct.2) – 2M (c) Repeat (b), starting with R(L) foot…2M

(c) Repeat (a) and (b), starting with L foot – 4M (d) Repeat all (a-c), three more times…24M

(d) Repeat all (a-c) = 8M - II -

Music B

MODULE 5 Face audience. Partners release hold. Stand side by side,

Girl at right, inside hands joined. Free hand of Girl holds
Polka Sa Nayon, is a Tagalog dance, The ballroom polka
skirt, that of boy is placed on waist.
was popular in the province of Batangas in the Spanish
time. (a) Starting with outside foot, take two heel and toe
polka steps forward…4M
It was usually danced during town fiestas and in big
social affairs. (b) One polka step outward (1M) and one polka step
inward (1M)…2M
For the costume, the girl wears Maria Clara or
balintawak style, and the boy wears barong tagalog and (c) Drop inside hands. Starting with outside foot, take
Black or white trousers. two polka steps to turn about outward in place. Finish
facing in opposite direction…2M Join inside hands, free Partners face audience. Join inside hands, free hands as
hands as above. in figure II.

(d) Repeat (a-c), starting with inside foot. Reverse (a) Starting with R foot, take four polka steps forward.
direction in (b) and (c). …8M …4M

(e) Repeat all (a-d). …16M (b) Girl whirls counterclockwise under arch of arms as
many times as possible. …3M
- III -
(c) Drop inside hands. Face and bow to each other or to
Music A.
audience; Girl holds skirt and Boy places hands on waist.
Partners in closed ballroom dance position, extended …1M
arms toward audience.
Note: If desired, the whole dance may be repeated in
(a) Starting with L (R) foot, take four polka steps sets of four pairs in square formation, all facing center
clockwise as in figure I (a). …4M of set. The saludo is performed with all facing front only
when ending dance.
(b) Take three gallop steps sideward left (right) toward
front (3 cts.), pause (1 ct.).

Do not put weight on the closing foot on the third MODULE 6

gallop step. …2M
Alitaptap is firefly, a nocturnal winged light-producing
(c) Repeat (b), starting with other foot, going in insect. On dark nights fireflies flit from branch to branch
opposite direction. …2M and from tree to tree. It is delightful to see their
flickering lights.
(d) Repeat all (a-c), thee more times…24M
The simple folk tune used in this dance originated from
- IV – Batangas.
Music C For the costume, girls are dressed in balintawak style
Partners face front, Girl at right side. Join inside hands and boys in barong tagalog and white trousers.
as in figure II. Both start with R foot. Music is composed of two parts: A and B. Count is one,
(a) Partners take one polka step R sideward and one two, three to a measure, Formation, partners stand
polka step L sideward. 2M opposite each other about six feet apart, girl at
partner’s right side when facing audience.
(b) Point R in front (ct.1), raise same foot across L foot
in front, just above the ankle (ct.2). Point R foot in front Hands movement:
(ct.1), step R close to L foot (ct.2). …2M 1. Kumintang
(c) Repeat (a) and (b), starting with L foot. …4M 2. Arms in lateral position moving sideward right and
Drop inside hands. Face each other and place both left
hands on own waist. 3. Fingers Fluttering
(d) With R elbows near each other (jaleo position), take 4. Arms in fourth position
eight polka steps forward, turning clockwise twice (four
polka steps for each turn). Finish in proper places. …8M Dance Steps

(e) Repeat all (a-d). …16M 1. Waltz sideward right and left

SALUDO 2. Waltz steps forward

Music Finale. 3. Point R foot obliquely forward right

4. Point R across the L in front

5. Three- step turn right in place L (c) Do-si-do – Starting with R foot, take two waltz steps
forward passing by each other’s R shoulder and two
6. Two close steps sideward right
waltz steps backward passing by each other’s L
7. Do-si-do shoulder. Girl holds skirt, Boy’s hands on waist. …4M

8. Tap L twice in front, then reverse (d) Repeat all (a-c). …8M

9. Three steps forward - IV -

10. Brush step Music B.

-I- Partners face each other.

Music A (a) Step R sideward (ct.1), tap L twice in front (cts. 2,3).
Repeat the same starting with L foot (cts. 1, 2, 3). Girl
Partners face each other. holds skirt, Boy’s hands on waist. …2M
(a) Waltz sideward R and L. Girl holds skirt, Boy places (b) Starting with R foot take three steps forward, hands
hands on waist. …2M as in (a),(cts. 1, 2, 3). Brush L forward (cts. 1, 2, 3). Finish
(b) Stand in place and kumintang R (1M) and L (1M), in one line by each other’s L shoulder. Arms in fourth
free hand on waist. 2M position. R arm high. …2M

(c) Repeat (a) and (b) three more times, starting L, R, L. (c) Repeat (a) and (b), starting with L foot and moving
…12M backward in (b). 4M

- II - (d) Repeat (a) and (b). …4M

Music B. (e) Starting with L foot, take two waltz steps backward
to proper places. Arms in lateral position, moving
Face front. sideward left and right. …2m
(a) Starting with R foot, take two waltz steps forward. (f) Execute a three-step turn left in place and bow to
Arms in lateral position moving sideward right and left, each other or to audience. Hands as in (a). …2M
fingers fluttering. …2M

(b) Point R foot obliquely forward right (1M), point R

across the L in front (1M). Girl holds skirt, Boy’s hand on
waist. …2M

(c) Repeat (a), moving backward. …2M

(d) Execute a three-step turn right in place. Hands as in

(b)…2M

(e) Repeat all (a-d). …8M

- III -

Music A.

Partners face each other

(a) Take two close steps sideward right. Arms in lateral

position sideward right, kumintang with both hands for
every measure. …2M

(b) Repeat (a), Sideward left. Reverse arm position.

…2M