Strengthening and preserving Philippine folk dances

Strengthening and Preserving Practices of
Philippine Folk Dances in Relation to Cultural Awareness

of Secondary Students of Davao City
Porferia S. Poralan, Rene M. Babiera, and Rebecca P. Habla
University of the Immaculate Conception
Abstract
Cultural awareness is the foundation of literate national communication. It
involves ones ability to stand back from where he or she is to become more
aware of cultural values, beliefs and perceptions. Strengthening and preserving
these values, beliefs, and traditions can pose a great challenge especially today
when culture has become vulnerable because of globalization. It is on this
ground that this study was conducted to determine the levels of practices in
strengthening and preserving Philippine folk dances and general knowledge
of folkdances as a measure of cultural awareness of secondary students of
Davao City. The respondents of the study were the 37 MAPEH teachers
and 1,896 secondary school students of School Year 2011-12 teaching or
enrolled, respectively, in public high schools in three congressional districts of
Davao City. The mean was used to describe the levels of practices concerning
the strengthening and preserving of Philippines folk dances and Pearson-r
was employed to test the relationship between each of these variables and
cultural awareness. A researcher-made survey questionnaire was constructed
and tested for validity and reliability. A 20-item multiple choice test was also
administered to the student respondents of the study. Findings revealed that
there is a high level of strengthening and preserving practices for Philippine
folk dances with an overall mean of 3.69 and 3.64, respectively, and level
of cultural awareness of students is good as quantified by a mean score of
11.03. Further, strengthening practices, such as being careful but allowing
students to explore Philippine folk dance, was encouraged while preserving
practices, such as resisting any alteration of folk dances and reading literature
before the dance, are also prevalent among MAPEH teachers. On the other

UIC Research Journal.2012.18(2):147-164
147
Poralan, Babiera & Habla
Philosophy & Education
hand, students are more knowledgeable of the dance literature than about
folk dances. However, strengthening and preserving practices by the MAPEH
teachers have no significant relationship with the general knowledge as a
measure of cultural awareness of the student of Philippine folk dances.
Keywords: cultural awareness, Philippine folk dances, preserving,
strengthening, Physical Education, MAPEH Teachers
Introduction
While it is true that people today should acculturate themselves to
the growing world culture, all the more a global citizen must not sacrifice
ones own culture. It is in their own cultural awareness that they learn moral
and ethical dispositions, which can guide the understanding of individuals
or groups of local and global contexts, and remind them of their relative
responsibilities within various communities. (Bartle, 2010)
To the call of globalization, the Philippines is responding well, but
in no time, efforts towards cultural awareness might be jeopardized because
of the tough competition from media and the technological landscape that
surround the young generations. Carmela Meris, a principal said the public
school system is not helping matters. The cafeteria-style curriculum, combined
with educators unwillingness to place demands on the students, has resulted
in a steady decline of commonly shared information between generations,
and young people themselves. Dr. Remedios Taguba, former director of the
Department of Education of the Philippines said many students who have
graduated from high school in the recent past have been deprived of the
cultural vocabulary that was common to educated persons in past generations.
They must be reintroduced to the cultural vocabulary that continues to be the
foundation of literate national communication (Bengwayan, 2008).
In Davao City, the Kadayawan Festival takes place every year,
exposing the young and old to colorful festivities, usually characterized
by street dancing showcasing colorful to traditional apparel, and dance
performances that depict the lives of people (Kadayawan, 2011). But this
event does not guarantee a good cultural awareness of the young generation
148

Philippine Folk Dances in Relation to Cultural
Awareness of Secondary Students of Davao City
since the citys festivities are only limited to tribal dances, which constitute
only one of the five types of Philippine dances (Meashan, et. al, 1998). Thus,
it is imperative to assess how literate the secondary students in Davao City are
as regards Philippine folk dances as a whole.
The level of cultural awareness in terms of the general knowledge of
Philippine folk dances should be determined among the secondary students of
Davao City because most of the youth of today are evidently more engaged in
pop dance and hip hop dance (Lewis, 2012). Their engagement in these kinds
of dances is not at all an impediment to cultural awareness among them. On
the contrary, this study could educate them regarding the different ways of
strengthening and preserving Philippine folk dances. Francisca Reyes-Aquino,
a great researcher of Philippine dances once expressed her concern that while
the Philippine folk dances do not face extinction, these are being threatened
by distortion. She had no objection to innovations in the presentation, but
she felt that folk dances should be left as they are because they are of the folk.
Thus, the conduct of this study is seen as giving dance teachers and secondary
students the chance to contribute to strengthening and preserving cultural
dances and to uphold mutual respect of the old and the new ideas in staging a
folk dance and ultimately to generate cultural development in the face of the
power of world cultures.
Method
This is a descriptive study involving 37 MAPEH teachers and 1,896
secondary school students of S.Y. 2011-12 as respondents of the investigation.
They were purposively chosen from public high schools in three districts of
Davao City. A researcher-made questionnaire with a 5-point Likert scale was
distributed to the MAPEH teachers and a 20-item multiple test questionnaire
was administered to the students to gauge their general knowledge of
Philippine folk dances. The survey questionnaire for the MAPEH teachers
has two parts. The first part contains questions geared towards determining
the extent of strengthening practices while the second part focuses on
preserving practices in folk dances. The 20-item test is classified into two
categories, Dance Literature and Philippine Folk Dance Information. Dance

149
literature questions were taken from the stories about or the origins of the
dance, while Philippine folk dance information questions were taken from
general information about folk dancing, such as proclamations on folk dances
and types of folk dances.
The gathering of data commenced with seeking endorsement from
the Office of the Division Superintendent of Davao City for the conduct of
the study. The letter was duly noted by the Research Director of the University
of the Immaculate Conception. Researchers were also given a list of schools
in the respective districts. The principal of the chosen school commissioned
MAPEH teachers to answer the questionnaire and MAPEH teachers prepared
the special class of each year level to answer the test questions. The researchers
administered the test to the students. The student respondents were made to
understand that the score in the test would not affect their grade in MAPEH.
Papers were checked and subjected to item analysis. To determine the result,
the mean was used to measure the levels of strengthening and preserving
practices of the MAPEH teachers and general knowledge of the students. To
measure the significant relationship, Pearson-Product Moment Correlation
Coefficient was employed.
Results and Discussion
Level of Strengthening of Philippine Folk Dances among MAPEH
Teachers in Davao City in the Area of Choreographing Skills
Displayed in Table 1 are the data for level of strengthening through
choreographing skills of MAPEH teachers in Davao City. The overall mean
rating is 3.64, which is equivalent to a descriptive rating of high. Eight out
of ten items in this indicator are rated high. The item Being careful not to
distort the Philippine folk dance when adapting the figures, music and costumes
garnered the highest mean score of 4.18. The second highest mean, which
is 3.86, referred to the item Supporting students endeavors in interpreting
katutubong kanta into creative dance presentations. The third highest mean
score is 3.81 for the item Adapting Philippine folk dance as one of the options
in staging a dance. The item Preferring to present other types of dances, such
150

as hip hop, ballet, jazz, modern dance and cheer dance, instead of a Philippine
folk dance garnered the lowest mean of 3.22. The second lowest mean score
garnered is 3.28 for the item Modifying the music, figures, and costumes of
Philippine folk dance, while the third lowest mean rating is 3.49 describing
the item Allowing innovations to the published folk dance literatures because it
develops creativity and hones cultural knowledge. This means that MAPEH
teachers in Davao City have oftentimes implemented strengthening activities
for Philippine folk dances. Evidently, they have found that their learning
activities or approaches are supportive of students endeavors towards folk
dancing and that they were careful enough not to tolerate the distortion,
modification, and innovations of the choreography, which jeopardize the
authenticity of the folk dance. The standard deviation values were all less than
1.0. This implies that the responses of the MAPEH teachers were consistent.
This further means that the level of strengthening of Philippine folk dances
among MAPEH teachers in Davao City is high. This result is supported by
Jervis (2006), who said that teachers will increasingly need to find ways of
talking about culture that take into account the multicultural classroom or
community in which they teach. This requires a different kind of sensitivity,
different tools, and different approaches.
Level of Strengthening of Philippine Folk Dances among MAPEH
Teachers in Davao City in the Area of Cultural Development
Presented in Table 2 are the data for the level of strengthening
through cultural development of MAPEH teachers in Davao City. The
overall mean rating is 3.74, which is equivalent to a descriptive rating of
high. Four out of the five items for this indicator are rated high. Topping the
items is Highlighting values of the folk dance through synopsis and the figures of
the dance with 4.00 as the average score. The second in rank is Increasing the
students cultural awareness by allowing the adaptation of Philippine folk dances
as quantified by a mean score of 3.97 while the third is the item Harnessing
potentials of students in folk dancing by allowing the students to explore the use
of folk dance steps in their dance presentations with a mean of 3.84. The item
Reinforcing folk dance presentations in school programs by organizing folk dance
151
152
3.64
3.86
3.28
3.69
3.50
3.64
3.22
Using Philippine folk dance music or katutubong kanta as an accompaniment

to creative expression of a dance and using fundamental folk dance steps in my
choreography
Supporting students endeavors in interpreting katutubong kanta into creative dance

presentation
Modifying the music, figures, and costumes of Philippine folk dances
Adding props and theatrical innovations to Philippine folk dance presentations
Allowing innovations to the published folk dance literatures because it develops

creativity and hones cultural knowledge.
Providing synopsis of adapted Philippine folk dances which includes recognition of

the original choreographer/researcher
Preferring to present other types of dances, such as hip hop, ballet, jazz, modern
dance and cheer dance, instead of Philippine folk dances
Category Mean
3.64
3.54
4.18
Being careful not to distort the Philippine folk dance when adapting the figures,
music and costumes.
Creating a dance presentation using folk dance steps.
3.82
Mean
Adapting Philippine folk dances as one of the options in staging a dance
Choreography
Variables
High
High
Moderate
High
High
High
Moderate
High
High
High
High
Description
Interpretation
Homogeneous responses
0.34 Homogeneous responses
0.61
0.70
0.48
0.39
0.50
0.54
0.49
SD
Table 1
Level of Strengthening of Philippine Folk Dances among MAPEH Teachers
in Davao City in the Area of Choreographing Skills

3.97
3.64
4.00
3.33
3.83
3.74
3.69
2. Reinforcing folk dance presentations in school programs by organizing folk dance

activities
3. Highlighting values of the folk dance through synopsis and the figures of the dance
4. Integrating folk dances in classroom instruction by using its music as icebreaker or

as an introduction to a class activity
5. Harnessing potentials of students in folk dancing by allowing the students to

explore the use of folk dance steps in their dance presentation
Category Mean
Overall Mean/SD
Mean
1. Increasing the students cultural awareness by allowing the adaptation of

Philippine folk dance
Cultural Development
Variables

High
High
High
Moderate
High
High
High
Description
Interpretation
0.39
0.51
0.61
0.36
SD
Table 2
Level of Strengthening of Philippine Folk Dances among MAPEH Teachers
in Davao City in the Area of Cultural Development

153
activities is at the fourth spot, and last is the item Integrating folk dance in
classroom instruction by using its music as icebreaker or as an introduction to a
class activity with 3.33 as its mean score. This explains that MAPEH teachers
choreographing skills that are geared towards strengthening folk dances, for
example, increasing, reinforcing, integrating, highlighting and harnessing
folk dance into teaching folk dances are oftentimes practiced in the school.
The standard deviation values were all less than 1.0. This implies that the
responses of the MAPEH teachers described homogeneity of assessment.
Level of Preserving of Philippine Folk Dances among MAPEH Teachers
Shown in Table 3 are the data describing the level of preserving of
Philippine folk dance through choreographing skills of the MAPEH teachers
in Davao City. The overall mean for this indicator is 3.85. It is equivalent to
a descriptive rating of high. The item with the highest mean is Discouraging
any alteration in the figures of the dance because its a sign of disrespect to the
original researchers/writers of the dance with 4.28 as its mean score. The
second highest mean is the item Encouraging reading of the literature of the
folk dance before the dance performance with a mean score of 4.25. Third in
the order is the item Attempting to change any of the figures described in the
dance literature with a mean score of 4.14. With a mean score of 4.06, the
item Prescribing music and costume in the staging of the Philippine folk dance
is in the fourth rank. Among all the items, Preferring to present a Philippine
Folk Dance whenever the dance group is invited to perform has the lowest mean
score of 3.19.
The survey implies that the preserving activities, such as discouraging
the alteration, reading the literature of the folk dance, and prescribing the
music and costume of the dance are oftentimes practiced by MAPEH teachers
in secondary schools of Davao City. This means that the level of preserving
practices in folk dancing is high. The standard deviation values were all less
than 1.0. This implies that the responses of the MAPEH teachers described
homogeneity of ratings or responses.
154

Mean
3.64
4.06
4.14
4.28
4.25
3.64
4.0
3.64
3.19
3.67
3.85
Choreographing Skills
1. Interpreting literally the published Philippine folk dance
2. Prescribing music and costume in the staging of the Philippine folk dance
3. Attempting to change any of the figures described in the dance literature
4. Discouraging any alteration in the figures of the dance because its a sign of
disrespect to the original researchers/writers of the dance
5. Encouraging reading of the literature of the folk dance before the dance
performance
6. Attending seminars/workshops in folk dancing, whether its about coaching,

teaching and performing
7. Finding ways to pursue folk dancing amidst lack of materials and equipment, such
as videos, CD, tapes, books and costumes
8. Promoting folk dancing by increasing the number of folk dance presentations in

and out of the school
9. Preferring to present a Philippine folk dance whenever the dance group is invited
to present a dance
10. Consulting other choreographers in times of doubt to ensure my presentations

faithfulness to the dance literature
Category Mean
High
High
High
High
High
High
High
High
High
High
High
Description
Interpretation
0.64
0.50
0.59
0.45
0.66
0.64
0.63
SD
Table 3

155
This result supports the assertion of Inigo (2010) that the schools
aim to transmit in living form intangible skills and techniques to the young.
Culture bearers of an ethnolinguistic group, in oral, practical and nonformal sessions train the young in the pure form of their art. The learners are
expected to eventually take the place of the elders to continue expanding and
developing frontiers of specialization in the community
Level of Preserving of Philippine Folk Dances among
MAPEH Teachers in Davao City in the Area of Cultural Sensitivity
Shown in Table 4 are the data for the level of preserving the Philippine
folk dance in Davao City through cultural development as an indicator. With
an overall rating 3.43, the descriptive equivalent of the indicator is moderate.
In this indicator the top item is Heightening cultural experiences of students
by allowing them to participate in dance festivals in and outside of the school
with a mean score of 3.53. On the second spot is the item Having faculty,
administration and staff that support efforts in encouraging the youth to patronize
folk dances with a mean score of 3.50. On the third slot is the item Having
available resources and materials for Philippine folk dance, such as videos, CD,
tapes, books and costumes with a mean score of 3.47. Having school officials
that support initiatives in providing a venue for creative challenge in showcasing
folk dances is the item on the fifth rank with a mean score 3.33 and on
the last rank is the item Having higher authorities who remind us about the
mandate that requires the presentation of the Philippine folk dance in all major
programs in schools with a mean score of 3.31. The standard deviation values
were all less than 1.0. This implies that the responses of the MAPEH teachers
described homogeneity of ratings.
Level of Cultural Awareness among Secondary Students in Davao City
Shown in Table 5 are the data for the cultural awareness of the
secondary students of Davao City. The level of cultural awareness of the
secondary students as a whole is good. The schools in the 1st Congressional
District have relatively higher scores when compared to those from 2nd and
3rd Congressional Districts. District Two has the lowest score of all the three.
156

Mean
3.31
3.33
3.47
3.50
3.53
3.43
3.64
Cultural Sensitivity
1. Having higher authorities who remind us about the mandate that requires the
presentation of the Philippine folk dance in all major programs in schools
2. Having school officials that support initiatives in providing a venue for creative
challenge in showcasing folk dances
3. Having available resources and materials for Philippine folk dance, such as videos,
CD, tapes, books and costumes
4. Having faculty, administration and staff that support efforts in encouraging the
youth to patronize folk dances
5. Heightening cultural experiences of students by allowing them to participate in

dance festivals in and outside of the school
Category Mean
Over-all Mean/SD

High
Moderate
High
High
Moderate
Moderate
Moderate
Description
Interpretation
0.48
0.46
0.56
0.53
0.54
SD
Table 4
in Davao City in the Area of Cultural Sensitivity

157
Table 5
Level of Cultural Awareness on Philippine Folk Dances of
Secondary Students of Davao City
School
Score
Description
11.00
Good
12.00
Good
13.00
Good
12.00
Good
10.00
Good
9.90
Good
10.62
Good
9.80
Good
10.00
Good
11.00
Good
13.00
Good
10.00
Good
Overall Mean Score
11.03
Good
District 1
District 2
District 3
Characterizing Cultural Awareness through

General Knowledge of the Philippine Folk Dances
Looking at each item of the test, the lowest percentage of accuracy
is Item 9, which pertains to the students knowledge of the national folk
dance troupe of the Philippines. Out of 1,896 secondary students only 17
percent of them answered the item correctly. The second lowest percentage
of accuracy is the Item 2 which pertains to the story behind the folk dance
Singkil. Only 25 percent of the respondents answered this item correctly.
On the other hand, the highest percentage of accuracy that the
students got is in the Item 1. This item asked about the dance Tinikling.
Ninety-four percent or 1,778 students out of 1,896 have answered the item
correctly. The second highest percentage of accuracy is the Item 7 and Item 20
158

Table 6
Frequency Distribution of the Respondents in Terms of Accuracy
of the Test Answers
Correct Answer
Items
1. Which of the Philippine

folk dances is known for its
distinguished use of bamboo
poles accompanied by steps?
No of
Students
a. Tinikling
4. What are the dances

performed essentially for the
gods by the cultural minorities
who lived in the hills and the
mountains?
a. Patadyong and
kimona
a.Tribal
Dance
479
716
1375
5. This is a style of dance

where performance includes
c. Spanish
Spanish footwork with Filipino
Dance
modifications, such as bamboo
castanets and Asian fan.
1038
6. The Philippine National folk

c. Cariosa
dance is
1678
7. The government agency

cc. National
responsible for culture and arts
Commission on
in the Philippines is
Culture and Arts
No of
Students
b. Itik Itik
79
c. Binasuan
33
94
d. Maglalatik
2. This is the dance that tells

the story of a Muslim Princess
Gandingan who was caught in
c. Singkil
the middle of the forest during
an earthquake caused by diwatas.
3.The typical attire of a rural

dance include:
1778
Incorrect Answers
1678
25
38
73
55
65%
89%
a.Pangalay
303
16
b. Kapa Malongmalong
915
48
d. Gayong-Gayong
198
10
b.Tapis
277
15
c.Barong Tagalog
653
34
d. Maria Clara
244
13
b.Muslim and Moro

Dance
256
14
c. Spanish Dance
43
d. Rural Dance
216
11
a.Tribal Dance
221
12
b .Muslim and
Moro Dance
417
22
d. Rural Dance
211
11
a.Tinikling
585
31
b.Singkil
42
d.Itik-itik
41
a. Department of
Education
93
b. Commission on
Higher
Education
39
d. Department of
Tourism
86
159

Correct Answer
Items
No of
Students
8. The subject that includes folk

b. Physical Education
dances in its curriculum is
c. Bayanihan
9. The Philippine National Folk
Dance
Dance Company is
Company
10. This was created in 1966

through Executive Order #30
cc. Cultural Center of
with the purpose of promoting
the Philippines
and preserving Filipino arts and
culture.
11. Two folk dances that are

similar in nature as both dances
b. Pandango sa Ilaw
use drinking glasses to show off
and Binasuan
the grace, balance, and dexterity
of the performers.
12. This dance is performed in

a flirtatious manner with fans
and handkerchiefs to emphasize
b. Cariosa
the dancers hide-and- seek
movements.
13This rural dance mimics the
high-stepping strut of birds
in the Philippine jungles over
c. Tinikling
bamboo traps. It is the most
popular dance in the Philippines.
14. This dance is commonly
performed at formal
gathering, such as balls, in
which prominent members
of government enjoy and
participate.
160
a. Rigodon
868
328
Incorrect Answers
No of
Students
a. Araling
Panlipunan
50
c. MUsic
658
35
d. Arts
311
16
a. Ramon Obusan
Fokloric Dance
Company
220
12
b. Hiyas Philippine
Folk Dance Company
1261
67
d. Leyte Kalipayan
Dance Troupe
85
a. Araneta
Coliseum
478
25
148
d. Philippine
International
Convention
Center
232
12
a. Singkil and
Tinikling
431
23
c. Sakuting and
Cariosa
205
11
d. Maglalatik and
Kuratsa
105
a.Salakot
325
17
c. Mazurka
Mindorea
391
21
d. Paseo de Iloilo
175
a. Singkil

404
21
b. Sakuting
212
11
220
12
b. La Jota Manilea
374
20
c. Pandango sa
Ilaw
488
26
d. Mazurka
Boholana
233
12
46
17
b.Cuneta
Astrodome
1026
1153
1001
1057
54
61
53
56
d. Subli
797
42

Correct Answer
Items
No of
Students
15. This dance mimics the

early battle of Christians and
Moros over coconut meat or
a. Maglalatik
latik during the time of Spanish
colonization.
1301
16. What is the rural dance

that imitates the courtship
movements of a duck?
1636
b. Itik-itik
Incorrect Answers
No of
Students
b. Pantomina
261
14
c. Pandango sa
Ilaw
192
10
d. Karatong
137
a.Tinikling
93
c. Jota Macedoa
86
c. Jota Macedoa
80
338
18
493
26
d. Handkerchiefs
285
15
b. Kapa Malongmalong
656
35
c. Singkil
350
18
315
18
b. Bendayan
508
27
c. Idudu
352
19
d. Salisid
354
19
b. Itik-itik
96
c. Jota Macedoa
44
d. Sakuting
36
69
86
a. Castanets
17. What do the dancers in
Sakuting use to portray a mock b. Sticks
fight?
18. This Muslim dance was
originally performed by wealthy
families during a wedding
celebration. This fingernail
a. Pangalay
dance is a popular festival dance
in Sulu.

19. What dance from Cordillera
has dancers portraying hunters
shielding their chicken from the
famishing hawk and the hawk a. Banog
end up entrapped and dies in the
hands of the hunters?
20. What is the most popular
dance in the Philippines?
a. Tinikling
774
569
676
1712
41
30
c. Coconut Shells
d. Gayong-Gayong
36
90
161
where 89 percent of the students answered them correctly. Item 7 asked about
the NCCA (National Commission on Culture and Arts) as the government
agency responsible for culture and arts while Item 20 asked about the most
popular dance of the Philippines. This item is consistent with the result about
Item 1, which asked about Tinikling.
Significance of the Relationships between Strengthening and Preserving
to the Cultural Awareness
As shown in the data of Table 7, there is no significant relationship
between strengthening of Philippine folk dances and cultural awareness (p >
0.05) and also no significant relationship between preserving of Philippine
folk dances and cultural awareness (p > 0.05). These results imply that the
variations in views regarding cultural awareness cannot be significantly
attributed to its relationship in either strengthening (3.24 percent) or
preserving (12.25 percent) practices.
Strengthening practices, such as increasing, reinforcing, integrating,
highlighting and harnessing folk dance activities were highly observed by
the teachers. Practices geared towards preservation of Philippine folk dances,
such as using the prescribed music and costume, reading the dance literature
before the dance presentation, and discoursing alteration of the dance
figures were implemented as well by the MAPEH teachers. Preservation
Table 7
Significance of the Relationships between Strengthening
and Preserving to the Cultural Awareness
Predictors
(x)
Cultural
Awareness
(y)
Strengthening
Preserving
162
Interpretation
p-value
Decision
0.18
Negligible correlation
0.576
Accept Ho
0.35
Low correlations; definite but

small relationship
0.270
Accept Ho

of anything encourages keeping its original form; thus, teachers are really
enthusiastic about the protection of folk dances by not changing or altering
the dance choreography. Therefore, dances authenticity must be retained as
the literature specified. Both strengthening and preserving affirm what Phil
Bartle (2010) says about the characteristics of culture, Since those traditional
songs, dances and music are important elements in the identity of those who
perform and enjoy them, we strongly support the idea of preserving them and
adding to them, as well as increasing their presence and profile in all societies,
and in increasing and expanding their content. A strong sense of identity is
a valuable element in the strengthening of communities and their culture.
The general knowledge of students about folk dancing was found to
be good. In this study, their general knowledge of folk dancing was used as a
measure to determine cultural awareness. As revealed by the data, students are
knowledgeable about the dance tinikling. They readily knew that this dance
uses bamboo poles accompanied by steps and that this dance mimics a kind
of bird called tikling strutting over the bamboo poles. However, results also
revealed that students were least knowledgeable about the Philippine national
folk dance troupe, which is the Bayanihan Dance Troupe.
When measured as to the relationship of strengthening and preserving
practices on the cultural awareness, this study showed that these practices
are not significantly related to the general knowledge of the students in folk
dancing. This result was just congruent to the assessment of Taguba (2007)
in Bengwayan (2008), former Director of the Department of Education
of the Philippines who said that many students who have graduated from
high school in the recent past have been deprived of the cultural vocabulary
that was commonly possessed by educated persons in the past generation.
She said that the students must be reintroduced to the cultural vocabulary
that continues to be the foundation for literate national communication
(Bengwayan, 2008).
With these results, a more thorough examination of what may affect
the cultural awareness of the students is encouraged. This cultural awareness
is significant as it will determine the kind of global citizens Filipinos must
have in the future.
163
References
Bartle, Phil. (2007). Preserving culture. 5 June 2010. http://cec.vcn.bc.ca/
cmp/modules/emp- pre.htm June 2010.
Bengwayan, Michael. (2008). Cultural literacy: How good are the young? 10
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Strengthening and preserving Philippine folk dances

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Strengthening and preserving Philippine folk dances

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Strengthening and Preserving Practices of

Philippine Folk Dances in Relation to Cultural Awareness

UIC Research Journal.2012.18(2):147-164

Poralan, Babiera & Habla

Philosophy & Education

Strengthening and Preserving Practices of

Poralan, Babiera & Habla

UIC Research Journal.2012.18(2):147-164

Poralan, Babiera & Habla

Philosophy & Education

Strengthening and Preserving Practices of

Poralan, Babiera & Habla

UIC Research Journal.2012.18(2):147-164

Using Philippine folk dance music or katutubong kanta as an accompaniment

Supporting students endeavors in interpreting katutubong kanta into creative dance

Modifying the music, figures, and costumes of Philippine folk dances

Adding props and theatrical innovations to Philippine folk dance presentations

Allowing innovations to the published folk dance literatures because it develops

Providing synopsis of adapted Philippine folk dances which includes recognition of

Creating a dance presentation using folk dance steps.

Adapting Philippine folk dances as one of the options in staging a dance

0.34 Homogeneous responses

0.52 Homogeneous responses

0.85 Homogeneous responses

0.42 Homogeneous responses

2. Reinforcing folk dance presentations in school programs by organizing folk dance

4. Integrating folk dances in classroom instruction by using its music as icebreaker or

5. Harnessing potentials of students in folk dancing by allowing the students to

1. Increasing the students cultural awareness by allowing the adaptation of

UIC Research Journal.2012.18(2):147-164

0.35 Homogeneous responses

0.38 Homogeneous responses

0.47 Homogeneous responses

Strengthening and Preserving Practices of

Poralan, Babiera & Habla

Poralan, Babiera & Habla

Philosophy & Education

1. Interpreting literally the published Philippine folk dance

3. Attempting to change any of the figures described in the dance literature

6. Attending seminars/workshops in folk dancing, whether its about coaching,

8. Promoting folk dancing by increasing the number of folk dance presentations in

UIC Research Journal.2012.18(2):147-164

10. Consulting other choreographers in times of doubt to ensure my presentations

0.41 Homogeneous responses

0.46 Homogeneous responses

0.68 Homogeneous responses

0.44 Homogeneous responses

Strengthening and Preserving Practices of

Poralan, Babiera & Habla

Poralan, Babiera & Habla

Philosophy & Education

5. Heightening cultural experiences of students by allowing them to participate in

UIC Research Journal.2012.18(2):147-164

0.35 Homogeneous responses

0.40 Homogeneous responses

Strengthening and Preserving Practices of

Poralan, Babiera & Habla

Poralan, Babiera & Habla

Philosophy & Education

Overall Mean Score

Characterizing Cultural Awareness through

Strengthening and Preserving Practices of

Poralan, Babiera & Habla