7

MUSIC ARTS
Quarter 1 – Module 1:
Title: The Language of Artistic
Expression
Folk Dance – Grade 8
Alternative Delivery Mode
Quarter 1 – Module 1: Title Historical Context of Local/Regional/National Dances
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work
of the Government of the Philippines. However, prior approval of the government agency or
office wherein the work is created shall be necessary for exploitation of such work for profit.
Such agency or office may, among other things, impose as a condition the payment of
royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from
their respective copyright owners. The publisher and authors do not represent nor claim
ownership over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Dr. Corazon Odan Agustin
Editors: Name
Reviewers: Name
Illustrator: Name
Layout Artist: Name
Management Team: Name of Regional Director
Name of CLMD Chief
Name of Regional EPS In Charge of LRMS
Name of Regional ADM Coordinator
Name of CID Chief
Name of Division EPS In Charge of LRMS
Name of Division ADM Coordinator

Printed in the Philippines by ________________________

Department of Education –Region(Ex. Department of Education-Region III)

Office Address: ____________________________________________

____________________________________________
Telefax: ____________________________________________
E-mail Address: ____________________________________________
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Folk Dance
Quarter 1 – Module 1:
Historical Context Of
Local/Regional/National Dances
Introductory Message
For the facilitator:

Welcome to the SPA-Folk Dance Grade 8 Alternative Delivery Mode (ADM) Module
on The Historical Context Of Local/Regional/National Dances.

This module was collaboratively designed, developed and reviewed by educators

both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration
their needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to
manage their own learning. Furthermore, you are expected to encourage and assist
the learners as they do the tasks included in the module.

For the learner:

Welcome to the Folk Dance 8 Alternative Delivery Mode (ADM) Module on The
Historical Context Of Local/Regional/National Dances.

The hand is one of the most symbolized part of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a
learner is capable and empowered to successfully achieve the relevant
competencies and skills at your own pace and time. Your academic success lies in
your own hands!

This module was designed to provide you with fun and meaningful opportunities
for guided and independent learning at your own pace and time. You will be
enabled to process the contents of the learning resource while being an active
learner.

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This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in
the module.

What I Know This part includes an activity that aims to

check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.

What’s In This is a brief drill or review to help you link

the current lesson with the previous one.

What’s New In this portion, the new lesson will be

introduced to you in various ways such as a
story, a song, a poem, a problem opener, an
activity or a situation.

What is It This section provides a brief discussion of

the lesson. This aims to help you discover
and understand new concepts and skills.

What’s More This comprises activities for independent

practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.

What I Have Learned This includes questions or blank

sentence/paragraph to be filled in to
process what you learned from the lesson.

What I Can Do This section provides an activity which will

help you transfer your new knowledge or
skill into real life situations or concerns.

Assessment This is a task which aims to evaluate your

level of mastery in achieving the learning
competency.

Additional Activities In this portion, another activity will be given

to you to enrich your knowledge or skill of
the lesson learned. This also tends retention
of learned concepts.

Answer Key This contains answers to all activities in the

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 module.

At the end of this module you will also find:

References This is a list of all sources used in

developing this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of
the module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your
answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are
not alone.

We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies. You can do it!

What I Need to Know

This module was designed and written with you in mind. It is here to help you
master the art of folk dance. The scope of this module permits it to be used in
many different learning situations. The language used recognizes the diverse
vocabulary level of students. The lessons are arranged to follow the standard
sequence of the course. But the order in which you read them can be changed to
correspond with the textbook you are now using.

The module is divided into four lessons, namely:

1. Lesson 1 – Dance Fundamentals Positions with Music & Counting;
2. Lesson 2 – Folk Dance Movements done with Partner& Terminologies;
3. Lesson 3 –Nature and basic steps of local/regional/national dances;
4. Lesson 4 –National Artists in Dance

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After going through this module, you are expected to:
1. executes the correct technique/execution of folk dance fundamental
positions with counting;
2. properly execute arm movements done with partner and other folk dance
terminologies;
3. explain the nature, characteristics and basic dance steps of one
local/community dance from Luzon, Visayas and Mindanao;
4. enumerate/describe the contribution of National Artists in Dance to the
development of Philippine Dances.

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 What I Know

A. Enumerate at least 4 musical performances .

B. Identify the following pictures that are related to music arts. Complete
the word base to the given pictures.

1. C_NI_M_ 2. B_L_ _T

2. M_S_CA_ 4.D_AM_

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 Lesson Dance Fundamental
1 Positions with Music and
Counting

What’s In

Matching Type. Match the drawing on the column A with the drawing on the Column B. Write the letter
of the correct answer on a separate sheet of paper.

Column A Column B

_____ 1. a).

_____2. b).

_____3. c).

_____4. d).

_____5. e).

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 What’s New

Dance movements are basically anchored on the five (5) fundamental positions
of the arms and feet. It is important that one must learn and master the fundamental
positions in dancing in order to provide better performance in all dancing activities.
Mastery and proper execution of these fundamentals is essential to a dancers’ further
development in dance. To do this you must master the fundamental positions with the
correct counting.

What is It

Rhythm is an important element in dance. Thus, it is important to learn the

proper fundamental position of arms and feet with counting for mastery purposes.

Dance Fundamental Positions with Music and Counting

Play the music (4/4) slowly. Count one, two, three, four to a measure in this particular
exercise.
I. Feet
Position Counting
From the first position point R (L) foot in second position Ct.1
Lower the heels Ct. 2
Point R (L) foot in fourth position in front Ct.3
Bring R (L) foot close to L (R) foot in third position in front Ct. 4
Point R (L) foot in fourth position Ct. 5
Lower the heels Ct. 6
Slide R (L) foot to fifth position in front Ct. 7
Position (First position) Ct. 8
To go to position slide the R (L) to fourth in front, to second and draw to first position,
making a complete foot circle outward.

II- Arms
Position Counting
From first position open the arms to second position Cts.1,2
Raise L(R) arm high to fifth position (To be in third position) Cts.3,4
Bend R (L) arm in front at waist level ( to be in fourth position) Cts.5,6
Raise R (L) arm in front to fifth position Ct. 7
Lower arms sideward-downward to position Ct. 8

III. Arms and Feet together

Position Counting
1. From first position point R (L) foot in second position (ct. 1), lower the 1,2
heel down (ct. 2) from first position slowly open the arms to second
position
2. Point the R (L) foot in fourth position in front (ct.3). Bring the 3,4
R(L)foot close to L (R) foot in third position in front (ct. 4). Raise the

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 L(R) arm high in fifth position (the other remains in second position ) on
count 3, 4
3. Point the R (L) foot in fourth in front (ct.5), lower the R(L) heel down 5,6
(ct. 6). Bend the R (L) arm in front at waist level to be in fourth position
in count 5,6
4. Slide R (L) foot in fifth position in front (ct. 7) and bring it to first 7,8
position as above (ct.8). Raise R (L) arm to fifth position on count 7,
then lower the arms sideward-downward to position on count 8

Note: If faster movement is desired, count one, two to a measure.

What’s More

Using your improvised music in 3/4and 4/4 time signature, practice the arms
and feet fundamental positions with your pair.

What I Have Learned

List the three things you remember from the lesson.




Give 2 examples of what you learned.


Write a question you have or something you are confused about.


What I Can Do

A. Make your own video performing the correct execution of the

fundamental positions of the arms the feet, and combination of arms and
feet with the music.

Assessment

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True or False. Write True if the statement is correct, or false if the statement is wrong.
Write your answer on your separate sheet of paper.

__________1. All five positions are given two counts each.

__________2. We always start with the first position.
__________3. We go back to the first position on count 8.
__________4. Counting for the arms & feet position are the same.
__________5. Applying counting and music for the fundamental position will
help in the mastery and proper execution.

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 Additional Activities

Watch the video at www. Youtube.com/ and make a reflection on it.

Answer Key

Assessment What I Know

1. FALSE B.
2. FALSE
3. TRUE 1. Contemporar
4. TRUE y
5. FALSE 2. Folk Dance
3. Ballet
4. Modern
Dance

What’s in
1.C
2. E
3. D
4. B
5.A

References

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http://clipart-library.com/clipart/1553996.htm

http://www.clipartpanda.com/categories/contemporary-dancer-silhouette

https://www.google.com/search?
q=ballet&oq=ballet&aqs=chrome.0.69i59j0l7.5599j0j9&sourceid=chrome&ie=UTF-8

https://www.cleanpng.com/png-ballroom-dance-silhouette-waltz-clip-art-group-dan-727286/

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 What I Know

Identification. Identify the following movements of the arms and the feet. Write
your answer on a separate paper.
_________1. to turn the hand from the wrist either clockwise or
counterclockwise ( outward and inward)
_________2. with fist closed and thumb sticking out, turn hand from the wrist
inward or outward.
_________3. with arms in fourth position, fist closed, more elbow up and down..
_______4. with fist closed and thumb sticking out turn hand half clockwise
wrist and lower the wrist twice.
_______5. to spring on one foot and landing on the same
_______6. to spring on one foot landing on the other foot
_______7. to scoop downward with slight bending of the trunk and finish
upward with R or L arm overhead
_______8. to bring one forearm in front and the other in rear at waist level with
slight twisting of the trunk
________9. to cross R foot over L with R hand or forehand over and vice versa
_______10. arms are side horizontal, elbows bent at R angles forearm parallel to
head, palms facing inward

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MasiwakKumintangCut

KewetLeapTumba-Tumba

SalokHayon-HayonSarok

Arms In Reverse T HopBilao

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Lesson Dance Movements Done
2 with Partner &Dance
Terminologies

What’s In

Crossword search. Find the words that you think are associated with dance
movements & terminologies. Write your answers on your answer sheet.

A P G T K L I P Q R R H A I I E Y F

O A L R J F T F E L L R A T S T L J

N I B E I O F O E T O P A I H A K K

B U O J E T G H D O U L W G E S N L

P L I G T R O I U I I K O F T F H U

I N R E V O S S O R C I P I I G O J

F N X Z T I O C L O C K W I S E U K

I I S X C K P L L N I O T T T H T P

N U O I C M I C L T P I R P A B Y U

V C U D D I R H I H O T U O R J O I

A S A I A E G H F R U U E I R I I T

B N J I T U F I A B I D O S I D O B

G Q G N C I P O O N T O O J G O P N

J H U V H I H L O M Y A P A H K I K

L O N I Y O I P U T I P Q R T L M O

C A B I C E R A S O P I F E B G N I

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 What’s New

Guide questions:

1. What have you seen in the picture?

2. What do you think they are doing? Dancing?
3. Have you tried dancing with a partner?

4
 What is It

Folk Dances are mostly done with partner. To Facilitate the learning
one has to know the terminologies used in dancing with partner. In this
lesson, you will learn the different movements done with a partner along
with the appropriate terminologies used in folk dances. Furthermore, you
will appreciate more the richness of folk dances.

Movements done with partner

1. Inside Foot- foot nearest partner
Outside Foot- foot away one’s partner
2. ballroom positions
a. Close BallroomPosition–partners facing each other
b. Open Ballroom Position- partners facing one direction
3. Direction
a. Clockwise- move to the direction of the clock
b. Counterclockwise- move to the opposite direction of the clock
4. Star Right- with R hand at each other move R
Star Left- With L hand at each other move L
5. Jaleo Right- With R elbows at each other move R
Jaleo Left- With L Elbows at each other move L
6. Saludo- bow either to audience or to partner
7. Abracete- girl at the R side holds R arm of partner with her left free
hand down at sides
8. Crossed Arm-partners facing each other or standing side by side girl at
the right of the boy they join left to left and right to right hand either left
over right or right over left
9. Do-si-do- vis a vis (opposite)both advance forward passed each
other right to right to partner’s place side step accros to the right backward
without turning around passed each other’s left to proper places
10. Cross over- 2 couples are opposite each other each couple
proceeds in a straight line to the opposite places. The girls pass by their
left shoulders between the boys. Boys bow to each other when they meet
or about 1/3 of the way then they proceed to opposite place. Upon

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 reaching the opposite place partners turn about girls stand at partners right
side.

Other movements/Terminologies:
1. Supporting Foot-The foot that bears the weight of the body.
2. Free Foot- The foot that doesn’t bear the weight of the body.
3. Hapay- to offer something to a guest
4. Set- a unit of formation
5. Cabiceras- head couples or the couples occupying the length of the hall
6. Costados- side couples or couples occupying the side of the halls
7. Jump- to spring on one or both feet and landing on both
8. Panadyak- a combination of stamp and tap
9. Step- to advance or to recede with complete transfer of weight from one foot
to the other
10. Place- to put your foot in any direction or desired position without transferring
of weight.
11. Slide- to glide off smoothly along the floor with a complete of weight
12. Pivot- to turn in place with the heel or whole feet and the ball of the feet
13. Whirl- to make fast turn in place

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 What’s More

Identify the word that matches the drawing in the square. Write your answer
on a separate sheet.

1. 4. 7.

2. 5. 7.

3. 6. 9.

Saludo Jaleo Left Outside foot

Slide Supporting Foot Jaleo Right
abracete Close Ballroom Position Inside Foot
Inside Arm Clockwise Open Ballroom

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 What I Have Learned

Complete the statement. Write your output on a separate sheet.

1. I have learned that…..

What I Can Do

Activity:
 Form a set of two pairs.
 1 pair will act as a performer, the other will act as an evaluator
then vice versa.
 Choose 5Dance Movements done with partner.
 Let the 1stpair perform while the other pair will evaluate.
 Use the form below in rating.

Chosen Dance Pair 1 Pair 2

Movements

1.

2.

3.

4.

5.

CRITERIA:

Shows Executes the Displays Total (10)

mastery of the steps with cooperation
steps (4 grace, form during the
points ) and sense of Performance
rhythm (3 (3 points)
points)

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 Assessment

Multiple Choice. Choose the letter of the best answer. Write the chosen letter on a
separate sheet of paper.
__________1. Which movement does not imply directions?
a. clockwise
b. hapay
c. cross-over
d. do-si-do

__________2. What position requires partners to face each other in a dance

position hold
a. Open ballroom position
b. Close ballroom position
c. costados
d. cabeceras
__________3. What movement requires partners to face each other in a
dance position hold
a. Open ballroom position
b. Close ballroom position
c. costados
d. cabeceras
__________4. Which foot is nearest to partner?
a. Supporting foot
b. Free foot
c. Inside foot
d. Outside foot
__________5. What foot bears the weight of the body?
a. Supporting foot
b. Free foot
c. Outside foot
d. Inside foot
__________6. What direction follow the movement of the clock?
a. star
b. Jaleo L
c. Counterclockwise
d. Clockwise
__________7. What movement requires the L elbow at each other?
a. Star Right
b. Star Left

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 c. Jaleo Right
d. Jaleo Left
__________8. What foot is away ones’ partner
a. Outside foot
b. Inside Foot
c. Free Foot
d. Supporting Foot
__________9. What do you call dancers/couples occupying the length of the
hall.
a. costados
b. cabeceras
c. cross over
d. do-si-do
__________10. What position requires partners to face one direction in a
ballroom hold?
a. Open ballroom position
b. Close ballroom position
c. Cross over
d. Hapay

Additional Activities

Create a 3 figure dance routine using movements done with partner.

Criteria:

Shows Executes the Displays Total (10)

mastery of the steps with cooperation
steps (4 grace, form during the
points) and sense of Performance
rhythm (3 (3 points)
points)

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 Answer Key

Assessment What I Know

1. B 1. Kumintang
2. B 2. kewet
3. C 3. Tumba-Tumba
4. B 4. Palpatik
5. A 5. Hop
6. D 6. Leap
7. D 7. Sulok
8. A 8. Hayon-hayon
9. B 9. Arms in Reverse
10. A “T”
10. Sarok

What’s More
1. Abrecete
2. Close Ballroom
Position
3. Inside Foot
4. Supporting Foor
5. Saludo
6. Jaleo Right
7. Outside Foot
8. Jaleo Left
9. Slide

T F E L L R A T S

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 I

I R E V O S S O R C

N C L O C K W I S E

S L T

I C A

D R T R

E E R

T F D O S I D O

N O G

U O Y A P A H

O T T

C A B I C E R A S

References

https://www.ecddancecompany.com/folk-dances/

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 What I Know

Write a paragraph by completing the statements below.

Folk dance is_____________________________________________________________________

_________________________________________________________________________________________

________________________________________________________________________________________.

My First Folk Dance is when I was _____________________________________________

________________________________________________________________________________________

________________________________________________________________________________________.

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 Nature, Characteristics, and
Lesson Dance Steps of Selected
3 Dance from the Locality ,
Dances from Luzon, Visayas
and Mindanao

What’s In

Multiple Choice. Choose the letter of the best answer. Write the chosen letter on a
separate sheet of paper.
__________1. Dance that simulates the way a duck walk.
a. tinikling
b. itik-itik
c. paru-paro
__________2. Dance that mimics the move movement of a crane bird.
a. tinikling
b. itik-itik
c. lapay bantique

__________3. Dance that requires a good balance and performed on top of

the bench
a. Oasioas
b. Pandanggo sa Ilaw
c. Sayaw sa bangko
__________4. Dance that uses coconut shells as part of their costume.
a. Pandangoo sa Ilaw
b. Maglalatik
c. Singkil

__________5. Dance that shows the many ways of using the malong
a. Malong-Malong
b. singkil
c. pandango sa ilaw
__________6. The girl uses a fan & handerchief in flirting.
a. Habanera Botolena
b. Carinosa
c. Surtido

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 __________7. Dancers performs a series graceful movement as they step out
in between bamboo poles rhythmically with fan and scarves as props.

a. singkil
b. tinikling
c. oaisias
__________8. Girl dancers balancers 3 half-filled glass of wine with two
hands and on head as they spin gracefully on the ground
a. Pandanggo sa Ilaw
b. Binasuan
c. Oasias

__________9. Balancing 3 oil lamps

a. Pandangoo sa Ilaw
b. Binasuan
c. Oasioas

__________10. Spanish influenced dance using casta nets as hand props a

more solemn version and sometimes used to accompany a funeral
procession.
a. La Jota Mocadena
b. Habanera Bolena
c. Pontamina

What’s New

Folk Dance depicts the customs, beliefs and traditions of people lives in a
certain locality. It is a reflection of any cultural heritage. There are several
classification of folk dances, one of which is the Geographical classification. Termed
as Luzon, Visayas and Mindanao dances. Another Classification is Local, Regional
and National. Local Dances are those that originates from a particular
locality/region only. National Dances are dances in the Philippines with common
basic movements or pattern with slight variations.

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 What is It

La Jota Moncadeňa
(Dance of Luzon)

Source: PHILIPPINE FOLK DANCES Volume 1

Francisca Reyes Aquino
Presenter: Corazon O. Agustin

Meaning: A jota named after the town of Moncada in Tarlac

Dance Culture: Lowland Christian
Place of Origin: Moncada, Tarlac
Ethno linguistic Group: Ilocano
Classification: Social Dance

Background/Context:

During the Spanish regime, La Jota dances were the most popular dances
performed in any social gathering by the Spanish Senoritas and Caballeros. The
Filipinos saw them dance and imitated them. This dance is the interpretation and
adaptation by the old people of Moncada, Tarlac where the name is derived from. It
is a combination of Spanish and Ilocano dance steps and music. The use of bamboo
castanets makes the dance lively, gay and delightful.

Dance Properties:

Costume
Female: Maria Clara Style or in typical Ilocano Costume
Male: Barong Tagalog and black trousers or in typical
Ilocano Costume
Dance Implement: A pair of bamboo castanets in each hand to produce
rhythm sounds.
Music 2/4 & 3/4 Composed of seven parts: Introduction, A,
B, C, D, E, and Finale.
Count One , and , two to a measure in 2/4 time.
One , two , three or one , and , two , and , three to a
measure in 3, time. Also one , and , two , and ,
three , and in 3/4 in F
Formation One to any number in pairs may take part. If many
are taking pairs they may be arranged in two parallel
lines or in sets of four pairs arranged in any
convenient and effective formation, facing different

16
 directions.

ENTRANCE
Music Introduction
(a) Partners enter side by side with Girl at right side of Boy. Execute
change steps forward to proper places. Arms in lateral position, right
and left 8M
alternately. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(b) Click castanets three times to a measure 16 M
(cts.1,and,2) . . . . . . . . . . . . .

I
Music A.
Partners face each other.
(a) Take two cross-steps sideward right (2M). Step R sideward (cts.1,2),
hop on R and raise L in front (ct.3). Arms in 4 th position, R arm high 3M
click castanets on counts 1,3 of every measure. . . . . . . . . . . . . . . . . .
....
(b) Repeat (a) going sideward left starting with L foot. Reverse position of
arms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3M
(c) Repeat (a) and (b) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6M
(d) Take two cross-steps sideward right, click castanets as in (a) . . . . . . . 2M
(e) Execute a three-step turn right in place, click castanets four times,
hands in front of chest (cts,1,2,3; 1), pause 2M
(cts.2,3) . . . . . . . . . . . . . . . . . .
(f) Repeat all (a-e), starting L and turning left in (e). Reverse positons of
arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 M
.

II
Music B.
Dancers face right so that Girl faces audience and Boy away from audience.
(a) Two waltz steps sideward L and R. Arms in lateral position, moving
Sideward left and right, click castanets three times to a 2M
measure. . . . . .
(b) Execute a waltz half-turn left (two waltz steps) to exchange place with
partner, pass facing each other. Finish facing right again in new place,
that is, Girl’s back is toward audience and Boy facing audience. Click
castanets as in 2M
(a). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(c) Repeat (a) and (b) seven more times. Always finish turn in opposite
Facing right (from facing-partner position). . . . . . . . . . . . . . . . . . . . . 28 M

III
Music C.
Partners face right as in Figure II.
(a) Take four waltz steps sideward R and L alternately. Arms in lateral
position, moving sideward left and right, click castanets three time
measure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4M
(b) Turn left to face partner. Take two waltz steps forward to meet at
center. Click castanets as in (a) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2M
.....

17
 (c) Girl: Take four waltz steps moving around clockwise at center. Start
with R arm in reverse “T” position clicking castanets three times
to a measure, L hand on waist. Reverse position of arms on
every
measure (4M).
Boy: Take four waltz steps clockwise, following closely behind Girl. 4M
hands on waist. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . .
Partners look at each other over R and L shoulder of Girl alternately.
(d) Partners take two waltz steps forward to proper places. Click castanets
as In (a). Finish facing partner by turning right 2M
about. . . . . . . . . . . . . .
(e) Repeat all (a-d), this time Girl doing the movement of Boy in (c) and
vice- 12 M
versa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

IV
Music D.
Partners face each other
(a) Waltz sideward R and L. Click castanets three times to a measure
sideward right and left. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2M
(b) Take two waltz steps forward to form one line at center, both facing
audience Girl stands in front of Boy. Click castanets as In (a) . . . . . . . . 2M
(c) Take four touch steps in front, R and L alternately. Bend trunk slightly
forward toward the pointing foot. Arms are parallel to each other
toward the pointing foot. Click castanets on counts 1, 3 of every 4M
measure . . . .
(d) Take two waltz steps forward to partner’s place. Click castanets as In
(a). Finish facing partner, turning right about . . . . . . . . . . . . . . . . . . . 2M
(e) Repeat all (a – d), this time partners finish in one line with their backs
toward audience In (b). Girl is in front of partner 10 M
again. . . . . . . . . . . . .

V
Music E. Play slowly
Partners face each other.
(a) Partners slide R foot obliquely forward right (ct. 1) and immediately
slide L close to R (ct,and), repeat once more (cts.2,and), step R
obliquely forward (ct.3). Face left and finish in one line at center, facing
each other. Boy faces audience and Girl away from audience. Girl holds
skirt and Boy places hands waist. (See diagram A) . . . . . . 1M
(b) Desmayo or Patay. Point L foot across R in rear, bend knees slightly at
the same time. Girl bends both arms forward (R forearm over L) with
forehead being supported by the crook of R elbow, as if crying. Boy
looks at partner’s face from underneath. He touches her R forearm
gently as if consoling her (cts.1,2), knees, head and trunk erect and
feet together, arms down at sides 1M
(ct.3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(c) Repeat (a) and (b), taking smaller steps. Finish facing and near each
other. Boy and Girl having exchanged places. (See diagram 2M
B) . . . . . . .
(d) Repeat (a) and (b). Finish in one line facing each other. Girl faces and
Boy away from audience. (See diagram C) . . . . . . . . . . . . . . . . . . . . . 2M

18
 (e) Repeat (a) and finish in proper places facing audience (see diagram D)
Boy turns left to face 1M
audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(f) Point L across R in rear and bend knees slightly. Click castanets once in
front at chest level (ct.1), straighten knees and put feet together,
click castanets once with arms open in 2nd position (ct.2), pause (ct.3) 1M
(g) Take four steps forward (one step for every measure). Girl holds skirt,
Boy places hand on 4M
waist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(h) Take two steps backward. Hands as In (g). . . . . . . . . . . . . . . . . . . . . 2M
(i) Execute a three-step turn right to proper places. Finish facing each
other (cts.1,2,3). Point L across R in rear, bend knees slightly, click
castanets once in front at chest level (ct.1), straighten knees and put
feet together, open arms to 2nd position and click castanets once
(ct.2), pause and put down arms at sides 2M
(ct.3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(j) Repeat all (a-i). This time, Boy doing the desmayo or patay movement
and Girl consoling. In (e), partners are facing away from audience. Girl
turns right to face away from audience. . . . . . . . . . . . . . . . . . . . . . . . 16 M

O X
X O O X X O
X O
Starting
Position
A B C D

Diagrams

VI
Music F. Play a little faster.
Partners face each other.
(a) Step R sideward (ct.1), brush L forward (ct.and), step with same foot
close to R in 1st position (ct.2), step R in place (ct.and), brush L foot
forward (ct.3), hop on R in place (ct.and). Arms in 4th position, R arm
high and click castanets six times to measure on counts 1, and, 2, and,
3 and four times on counts 1, 2, 3, 1M
and. . . . . . . . . . . . . . . . . . . . . . . .
(b) Repeat (a) twice more, left and right. Reverse position of arms at every
measure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2M
.
(c) Execute a four-step turn left to proper places. Click castanets four
times (cts.1,and,2,and), pause 1M
(cts.3,and). . . . . . . . . . . . . . . . . . . . . . . . . .
(d) Repeat (a – c), starting with L foot, turning right in (c). Reverse
positions of 4M
arms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(e) Pause. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2M
.

19
 (f) Repeat all (a – e). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 M

Saludo
Music Finale.
Partners face the audience.
(a) Execute a three-step turn right in place, Girl holding skirt, Boy’s hands
on waist (cts.1,2,3). Feet together and click castanets once in front of
chest (ct.1), pause (cts.2,3) 2M
(b) Point L foot across R in rear and bend knees slightly for six counts.
Click castanets once to right side (ct.1), pause (cts.2,3). Click once to 2M
left side (ct.1), pause (cts.2,3). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
......
(c) Put feet together and bow to audience. Open arms to 2nd click
castanets once (ct.1), pause (cts.2,3). . . . . . . . . . . . . . . . . . . . . . . . . 1M
.......

EXIT

Music Introduction. Play as many times as necessary.

Starting with R foot, execute change steps forward to exit. Click castanets as in entrance.

Miligoy de Cebu
(Dance of Visayas)

Dance Researcher : Lorette Manlupig

Resource Person : Dolores M. Suzara
1986 National Folk Dance Workshop

Meaning : Cebu’s Miligoy (man’s name)

Dance Culture : Lowland Communiy
Place of Origin : Consolacion, Cebu
Ethnolinguistic Group : Cebuano
Classification : Social/Courtship
Performers : Male and Female

Background / Context:

As Spain continuously sustained it’s foothold on the social and economic life
of the archipelago, Western culture and traditions steadily filtered into the lifestyle of
the Fiiipino, becoming localized while others gained regional characteristics including
music and dance. Many native lifestyles swung toward the Western end of the
balance incorporating such dance steps as polka, valse, mazurka, fandango, and
paso doble into the Filipino dance tradition.

20
 Miligoy de Cebu, like Its Waray counterpart, is a courtship dance that started
with a couple expressing their love for each other. Later it evolved into a social
dance participated in by several couples. Today’s version is an offshoot of the Miligoy
performed in big social gatherings and fabulous feast celebrations. At the turn of the
century much of the original courtship movements has disappeared, finding no
proper expression in a group dance, and its place, familiar dance steps of some other
dances have taken the place of filtration, chasing and gentle caresses.

Miligoy is a name of endearment given to a man became popular in the

dance circles of Samar or Leyte, Miligoy was not only an expressive dancer but a
Valentino as well. It is said Miligoy was the envy of every one in dance parties during
the town fiestas. Such was his fame as a extraordinary dancer that women took
pride just to dance with him.

It is known how the Miligoy dance started, but one thing is certain, the dance
was named after Mr. Miligoy himself. Traders and travelers brought along with them
the miligoy dance from Waray land to other places they settled on particularly Cebu
and its environs.

Movements Particular to the Dance:

1. Mazurka step
2. Waltz step
3. Waltz turn
4. Use of bamboo castanets

Dance Properties

Costume
Female Maria Clara of elegant type.
Top: (Baro) Filmsy, bell sleeved blouse, stiffened with starch.
Elaborate embroidery on borders of sleeves and waistline
white or off white. Pina, fine sinamay of late
Panuelo: (Alampay) Starched, square material (of baro material)
folded to a triangle, set over shoulder with two ends
pinned in front with a brooch or pin.
Skirt: (Saya) Billowy, silk, satin or brocade
Type 1 – 4 to 8 panels in coordinated or contrasted colors.
Type 2 – two-toned, upper part pastel or white, lower part
bold or jewel colored. Flower follage applique and the like
or panel borders.
Type 3 – One piece full balloon of any color, covered by a
sobre falda or over skirt, cut in apron style.
Chemise: (Corpina) White with cutout embroidery on neckline.
Slip: (Inagua) Ankle-length, white with elaborate crocheted
hemline, of wide lace.
Accessory Jewelry in gold (imitation), payneta, combs, necklace and
: pendant, earring, bracelets and rings.

21
 Footwear: Period shoes or elaborately beaded slippers or sapatilla.
Props: 2 pairs of elongated bamboo castanets per dancer
Male
Top: (Barong Tagalog) Elaborate type. Front or all over
embroidery
Pants: Black or dark
Footwear: Black leather shoes

Musical Accompaniment: Rondalla

Music : Composed of two parts: A and B

Count : 1, 2, 3 to a measure

Formation : Partners stand opposite each other about six feet apart. Girl is at the right
of Boy when facing audience. Any number of pairs may perform the dance.
Dancers hold a pair a bamboo castanets in each hand.

ENTRANCE

Music B

Starting with the R foot, take 16 waltz steps moving forward to proper places.
Arms in lateral positon moving sideward right and left alternately. Click castanets
three times a measure. 16 M

Music A

Partners face audience

(a) Stamp R foot in place on count one of every measure. Arms are in
reverse “T” position (a little lower than the ordinary reverse “T”
position). Click castanets once or every stamp. 2M
(b) Waltz sideward right and left arms in lateral position moving sideward
right and left. Click castanets three times to a measure. 2M
(c) Take 2 sway balance steps with a waltz sideward right and left,
forearm turn to sideward right and left alternately. Click castanets on
counts (1,3;1,2,3;1,3;1,2,3). 4M
(d) Repeat all (a-e) 8M

II
Music B

Partners face the audience

(a) Starting with the outside foot, take 2 slide steps sideward moving away
from partner. Arms are in reverse “T” position, clicking castanets on
count one of every measure. Bend trunk slightly sideward-inward. 2M

22
 (b) Repeat (a) starting with the inside foot moving inward towards partner. 2M
(c) Repeat (a) 2M
(d) Starting with the inside foot, take 2 waltz steps forward moving half-
way clockwise to partner’s place, arms as in Figure I (b). Boy passes in
front of Girl. Click castanets three times to a measure. 2M
(e) Repeat all (a-d). This time Girl passes in front of Boy. 8M

III

Music A

Repeat Figure I. 16 M

IV

Music B

Partners turn R shoulder toward each other.

(a) Take 2 mazurka steps sideward right, arms in 4th position, L arm high.
Click castanets three times to a measure. 2M
(b) Take 2 slide steps sideward right to partner’s place, passing back to
back. Arms as in (a). Click castanets on the first count of every 2M
measure.
(c) Turn right about and repeat (a). 2M
(d) Waltz turn right to proper places, forearm turn to sideward, right and
left alternately. Click castanets as in (a). 2M
(e) Repeat all (a-d). 8M

Music A

Partners face audience

Repeat Figure I 16 M

VI

Music B

Partners face each other.

(a) Execute a step-brush-swing-hop with the R foot obliquely forward right.
Salok L arm to 5th position, R arm overhead. 1M
(b) Boy: kneel on R, half-stand on L, arms in 2nd position, palms up (1M);
pause (4M).
Girl:Lunge on L forward, arms in second position (1M) starting with R
foot, take 4 waltz steps forward moving counter clockwise around the
Boy. Arms are in lateral position moving sideward right and left. Click
castanets on counts 2,3 of every measure (4M). 5M
(c) Boy stands and partners take 2 waltz steps moving backward to proper

23
 places, arms as in (b) of Girl. 2M
(d) Repeat all (a-c). This time, Girl kneels in (b) while the Boy takes lunge
position. 8M

VII

Music B

Partners face each other.

(a) Starting with the R foot, take 4 waltz steps forward to meet partner at
center, arms as in Figure VI (c). 4M
(b) Take 2 waltz steps, Boy moves forward while Girl moves backward.
Arms as in (a). 2M
(c) Boy takes a waltz turn right to proper place while Girl executes the
waltz turn in place. Arms as in (a). 2M
(d) Repeat (a). 4M
(e) Repeat (b) and (c). This time Boy does the Girl’s part and vice versa. 4M

EXIT

Music B
Partners face each other and cross wrists, arms are extended sideward. Click
castanets three times to a measure.
(a) Take 2 waltz steps sideward toward audience and away. 2M
(b) Waltz turn clockwise. Move away from place leading to exit. 2M
(c) Repeat (a) and (b) three times more to exit. 12 M

Thalek
(Dance of Mindanao)

Researcher and Presenter: Odysso D. Oyales

Zamboanga Del Sur National High School
Division Coordinator, Special Programs in the Arts

Meaning: Celebration after a ritual or bountiful harvest.

Dance Culture: Highlands Lumad
Place of Origin: Lapuyan, Zamboanga del Sur
Ethno linguistic Group: Subanen
Classification: Social dance for females

Background / Context:

The island of Mindanao in the Philippines is home to over fifty (50) indigenous or
non-Islamic groups called Lumad. Subanen is one of the largest groups of Lumad.

Thalek is a dance performed by women holding a pair of curled dried rattan leaves
called Khumpassas their props. They usually perform the dance after rituals or a
bountiful harvest as assign of thanksgiving. They also dance this to welcome visitors

24
 in the community to partake in their blessings received. Women usually perform this
dance in a graceful movement, showing their way of life in the community as shy
and with timid personality.

They use musical instruments like gongs. The main function of gong ensemble is to
provide musical accompaniment to all ritual dances like the Thalek.

Dance Properties:

Costume

GINULONGa long sleeved top for women with pleats

Toppers:
and sheering made of light and shiny materials, the
upper portion is a fitly tight blouse especially below
the breast, the tummy portion is embroidered with
symbolic design in front like BINITUN(star), flower,
SINUBA(river between the mountain) and
SINALUG(a river in the valley). At the back is a large
design of BALEMBANG (butterfly).
Skirt: PHULAW or GAMPIK, a woven tubular cloth like
patadyong or malong of the muslims.
Headdress: THERUNG, a square kerchief usually of hand woven
material.
Accessories: Earrings: made of the same materials use for
weaving a cloth and filled with beads.
Chocker: a black cloth filled with red buttons.
Hand Implements: Khumpass: made of crimped rattan leaves.

Music: 2/4 The music is called “DUMENDING”. The instruments are two different
Sizes of gongs and two bamboo sticks called “GULETEK”.
Count: One , ah , two , ah to a measure.

Basic Steps/Footwork (Khuleg Dhesud):

(1) Dhesud
Step R (L) foot forward (ct.1), bring L (R) heel close to R (L) heel
(ct.ah), close L (R) foot to R (L) (ct.2), step R (L) foot backward 1M
(ct.ah). . . . . .
(2) Dhesud Bhibang Dlintu
Step R (L) foot forward (ct.1), step L (R) in place (ct.ah), step R (L)
backward (ct.2), step L (R) in place (ct.ah). . . . . . . . . . . . . . . . . . . . . 1M

Basic Arm Position (Khuleg Dhenghan):

(a) Ginampu
Stoop slightly and strike Khumpassin front (ct.1), bring Khumpass to
sides at hip level with a shake three times to produce sounds
(cts.ah,2,ah). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1M
.
(b) Ghilid Bhibang Dlintu
Arms in second position while shaking the Khumpass up and down four
(4) times (cts.1,ah,2,ah). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1M

25
(c) Shalyu Ditas Shilong
With R (L) arm overhead slightly in front, shake Khumpass four times
going downward to sideward in circular motion, L (R) hand on wiaist
(cts.1,ah,2 ah). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1M
(d) Titalan Migampu
Both arms doing the Shalyu Ditas Shilong movements with lower ends
of Khumpass in horizontal position almost meeting when raised 1M
overhead
(e) Titalan Migampu Di Ditas
Same as in (d) but movements will start only from chest level. 1M

ENTRANCE

(a) Sixteen (16) basics Step 1 Dhesud to center of the dancing area, hands
on waist. Finish in circle formation facing audience. (See Diagram 16 M
below)

Audience

0 0
1 2

0 0
3 4

0 0
5 6

I
Dancers face audience.
(a) Sixteen (16) Basic Step 1 Dhesud in place. Arms doing the Ginampu. . . 16 M

II

Dancers face partner (G1 & G2, G3 & G4, G5 & G6).
(a) Eight (8) Basic Step 1 Dhesud moving around clockwise with partner.
Arms doing the Ghilid Bhibang Dlintu movement. . . . . . . . . . . . . . . . . 8M
(b) Repeat (a) moving counterclockwise. . . . . . . . .. . . . . . . . . . . . . . . . . 8M

III

Dancers face out of circle.

(a) Eight Basic Step 2 Dhesud Bhibang Dlintu moving forward. Arms doing
the Shalyu Ditas Shilong R and L alternately. . . . . . . . . . . . . . . . . . . . 8M
(b) Turn right about and repeat (a). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8M

IV

Dancers face partners.

(a) Four (4) Basic Step 1 Dhesud to form one vertical line at center. Arms

26
 doing the Ginampu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4M
(b) Eight (8) Basic Step 1 Dhesud in place. Arms doing the Titalan 8M
Migampu.
(c) Four (4) Basic Step 1 Dhesud to go back to proper places. Arms doing
the 4M
Ginampu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dancers face audience.

(a) Four (4) Basic Step 1 Dhesud to turn right in place. Arms doing the
Ginampu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4M
.
(b) Eight (8) Basic Step 1 Dhesud moving clockwise to form a circle. Arms
doing the Titalan Migampu Di Datas. . . . . . . . . . . . . . . . . . . . . . . . . . 8M
(c) Repeat (a) turning left in 4M
place. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

EXIT

Dancers face audience.

(a) Sixteen (16) Basic Step 1 Dhesud moving around the dancing area in a
figure of eight to exit. Hands on waist. 16 M

Note: Each figure may be done as many measures you desired.

Research Consultant : GAUDEN SIREG

Executive Member, Committee on Southern Cultural
Communities of the NCCC

Translator : ELMIE M. ITUMAY

What’s More

Identify the dance steps used in the Dance taught. Write only the letter on
your separate answer sheet.

La Jota Moncadeňa Miligoy de Cebu Thalek

27
 Waltz step Mazurka
Touch Step Slide Step
Change step Cross step
Salok Brush
Dismayo/
What I Have Learned

Using Venn diagram, compare and contrast the three dances that you have
learned. Write your answer on a separate sheet.

What I Can Do

Drawing of Lots.On the spot performance of figures drawn from the three
dances.

Assessment

In preparation for the mini- recital, you will be grouped into four (4) and practice
your assigned dance.

28
Group 1: Local Dance
Group 2: La Jota Mocadena
Group 3: Miligoy de Cebu
Group 4: Thalek

Additional Activities

Inquire from the elders in the community what are other existing dances in
the community. Submit your report next meeting.

Answer Key

What’s In
1. B
2. A
3. C
4. B
5. A
6. B
7. A
8. B
9. A
10.A

29
References

30
 What I Know

Look at this picture below. Answer the following questions on your separate sheet.

1. Who is this man?

2. How did you know him?
3. What do you think are the contributions of this man for our country?

31
 Lesson
National Artists in Dance&
4 Their Contributions

What’s In

Arrange Me. Arrange the scrambled letters to form the correct word. Write your
answer on a separate sheet.

BAUTUL
BUSANO
SEYRE
QUINGOCO
QUINAO

What’s New

Order of National Artist is the highest national recognition given to Filipino

individuals who have made significant contributions to the development of
Philippine Arts.It includes Dance, Music, theater, Visual Arts, Literature, Film,
Broadcast Arts, and Architecture & Allied Arts.The order is jointly administered by
the National Commission for Culture and the Arts (NCCA) and the Cultural Center
of the Philippines (CCP) and conferred by the President of the Philippines upon
recommendation by both institutions.

What is It

In the field of dance, there are five National Artists whose remarkable
contributions were highly recognized in the development of dance in our

32
country throughout the years namely: Francisca Reyes Aquino, Leonor
Orosa Goquinco, Lucresia Reyes Urtula, Ramon Obusan & Alice Reyes.

Francisca Reyes Aquino

(1893-1983)

Francisca Reyes Aquino is acknowledged as the Folk Dance Pioneer.

This Bulakeña began her research on folk dances in the 1920’s making trips
to remote barrios in Central and Northern Luzon. Her research on the
unrecorded forms of local celebration, ritual and sport resulted into a 1926
thesis titled “Philippine Folk Dances and Games,” and arranged
specifically for use by teachers and playground instructors in public and
private schools.

In the 1940’s, she served as supervisor of physical education at the

Bureau of Education that distributed her work and adapted the teaching of
folk dancing as a medium of making young Filipinos aware of their cultural
heritage. In 1954, she received the Republic Award of Merit given by the late
Pres. Ramon Magsaysay for “outstanding contribution toward the
advancement of Filipino culture”, one among the many awards and
recognition given to her.

Her books include the following: Philippine National

Dances (1946); Gymnastics for Girls (1947); Fundamental Dance Steps
and Music (1948);Foreign Folk Dances (1949); Dances for all
Occasion (1950); Playground Demonstration (1951); and Philippine Folk
Dances, Volumes I to VI.

33
LEONOR OROSA GOQUINGCO
(1917-2005)

Dubbed the “Trailblazer”, “Mother of Philippine Theater Dance” and

“Dean of Filipino Performing Arts Critics”, Leonor Orosa Goquingco,
pioneer Filipino choreographer in balletic folkloric and Asian styles,
produced for over 50 years highly original, first-of-a-kind choreographies,
mostly to her own storylines. These include “TREND: Return to Native,” “In
a Javanese Garden,” “Sports,” “VINTA!,” “In a Concentration Camp,” “The
Magic Garden,” “The Clowns,” “Firebird,” “Noli Dance Suite,” “The
Flagellant,” “The Creation…” Seen as her most ambitious work is the
dance epic “Filipinescas: Philippine Life, Legend and Lore.” With it, Orosa
brought native folk dance, mirroring Philippine culture from pagan to
modern times, to its highest stage of development.

She was the Honorary Chair of the Association of Ballet Academies of

the Philippines (ABAP), and was a founding member of the Philippine Ballet
Theater.

34
Lucresia Reyes-Urtula
(1929-1999)

Lucrecia Reyes-Urtula, choreographer, dance educator and

researcher, spent almost four decades in the discovery and study of
Philippine folk and ethnic dances. She applied her findings to project a new
example of an ethnic dance culture that goes beyond simple preservation
and into creative growth. Over a period of thirty years, she had
choreographed suites of mountain dances, Spanish-influenced dances,
Muslim pageants and festivals, regional variations and dances of the
countryside for the Bayanihan Philippine Dance Company of which she
was the dance director. These dances have all earned critical acclaim and
rave reviews from audiences in their world tours in Americas, Europe, Asia,
Australia and Africa.

Among the widely acclaimed dances she had staged were the
following: Singkil, a Bayanihan signature number based on a Maranao epic
poem; Vinta, a dance honoring Filipino sailing prowess; Tagabili, a tale of
tribal conflict; Pagdiwata, a four-day harvest festival condensed into a six-
minute breath-taking spectacle; Salidsid, a mountain wedding
dance ; Idaw, Banga and Aires de Verbena.

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Ramon Obusan 
(1938 -2006)

Ramon Obusan was a *dancer, choreographer, stage designer and

artistic director. He achieved phenomenal success in Philippine dance and
cultural work. He was also acknowledged as a researcher, archivist and
documentary filmmaker who broadened and deepened the Filipino
understanding of his own cultural life and expressions. Through the Ramon
Obusan Folkloric Grop (ROFG), he had effected cultural and diplomatic
exchanges using the multifarious aspects and dimensions of the art of
dance.

Among the full-length productions he choreographed are the following:

“Vamos a Belen! Series” (1998-2004) Philippine Dances Tradition

“Noon Po sa Amin,” tableaux of Philippine History in song, drama and
dance
“Obra Maestra,” a collection of Ramon Obusan’s dance masterpieces
“Unpublished Dances of the Philippines,” Series I-IV
“Water, Fire and Life, Philippine Dances and Music–A Celebration of Life
Saludo sa Sentenyal”
“Glimpses of ASEAN, Dances and Music of the ASEAN-Member Countries”
“Saplot (Ramon Obusan Folkloric Group): Philippines Costumes in Dance”

36
Alice Reyes
(1929-1999)

The name Alice Reyes has become a significant part of Philippine

dance parlance. As a dancer, choreographer, teacher and director, she has
made a lasting impact on the development and promotion of contemporary
dance in the Philippines. Her dance legacy is evident in the dance
companies, teachers, choreographers and the exciting Filipino modern
dance repertoire of our country today.

Reyes’ dance training started at an early age with classical ballet

under the tutelage of Rosalia Merino Santos. She subsequently trained in
folk dance under the Bayanihan Philippine National Dance Company and
pursued modern dance and jazz education and training in the United
States. Since then, during a professional dance career that spanned over
two decades, her innovative artistic vision, firm leadership and passion for
dance have made a lasting mark on Philippine dance.

Perhaps the biggest contribution of Alice Reyes to Philippine dance is

the development of a distinctly Filipino modern dance idiom. Utilizing
inherently Filipino materials and subject matters expressed through a
combination of movements and styles from Philippine indigenous dance,
modern dance and classical ballet she has successfully created a
contemporary dance language that is uniquely Filipino. From her early
masterpiece Amada to the modern dance classic Itim-Asu, to her last major
work Bayanihan Remembered which she staged for Ballet Philippines, she
utilized this idiom to promote unique facets of Philippine arts, culture and
heritage.

By introducing the first modern dance concert at the CCP Main

Theater in February 1970 featuring an all contemporary dance repertoire

37
and by promoting it successfully to a wide audience, she initiated the
popularization of modern dance in the country. She followed this up by
programs that developed modern dancers, teachers, choreographers and
audiences. By organizing outreach tours to many provinces, lecture-
demonstrations in schools, television promotions, a subscription season and
children’s matinee series, she slowly helped build an audience base for
Ballet Philippines and modern dance in the country.

Among her major works: Amada (1969), At a Maranaw

Gathering (1970) Itim-Asu (1971), Tales of the Manuvu (1977), Rama
Hari (1980), Bayanihan Remembered (1987).

What’s More

Group Activity
Name that Artist
You will need: Videos of different dances from three dance researchers/artist.
Procedure:

1. You will be divided into three groups.

2. A video will be played.
3. First group to buzz will have the chance to name the title and
the researcher/choreographer of the dance played.
4. The following points will be awarded for each correct answer.
a. Title of the Dance =2 points
b. Choreographer/Researcher = 1 point
5. In case of a wrong answer, the group will be deducted 2 points.
6. Procedure will continue until all prepared videos have been
played.
7. The group with the highest points wins the game.
Score board Group 1 Group 2 Group 3
Dance #1
Dance #2
Dance #3
Dance #4
Total

38
 What I Have Learned

A. Sing & Dance

 Divide the class into three groups.
 Compose a 3- minute Jingle that speaks the life of our National
Artists in Dance.
 Be creative in presenting your output.
Criteria:
Content - 5 points
Musicality 2 points
Over-all Performance 3 points
Total 10 Points

B. 3-2-1
List the three things you remember from the lesson.



Give 2 examples of what you learned.


Write a question you have or something you are confused about.


What I Can Do

 Dress like a National Artist.

 Composea 5-minute speech on the topic “How to
become a National artist”
 Present it to the class.

39
 Assessment

Matching Type. Match the statements on Column A with the letters in column B.
Write only the letters of the correct answer.
________1. The 1st National Artist
A. Ramon Obusan
________2. Acknowledge as a
B. Alice Reyes
researcher, choreographer, architect
C. Francisca Reyes Aquino
and documentary film maker
D. Leonor Orosa Goquingco
________3. Her Biggest contribution to E. Lucresia Reyes-Urtula
Philippine Dance is the development
of a modern dance idiom.
_______4. Dubbed as Mother of
Philippine Theater Dance
_______5. Dance Director of the
Philippine Bayanihan Dance
Company.

Additional Activities

List the three things you remember from the lesson.




Give 2 examples of what you learned.


Write a question you have or something you are confused about.


40
 Answer Key

Assessment
1. C
2. A
3. B
4. D
5. E
6.

41
References
https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.spot.ph
%2Farts-culture%2Fthe-latest-arts-culture%2Fsmart-music-live-online-
sessions-and-bayanihan-musikahan-bring-regine-velasquez-ogie-alcasid-
ryan-cayabyab-to-live-online-stage-adv-con-
pr&psig=AOvVaw30_PzmhQimUITJQfYdK-
AY&ust=1595513487986000&source=images&cd=vfe&ved=0CAIQjRxqFwoT
CLiEo4mF4eoCFQAAAAAdAAAAABAD
http://gwhs-stg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture-
profile/national-artists-of-the-philippines/francisca-reyes-aquino/
http://gwhs-stg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture-
profile/national-artists-of-the-philippines/alice-reyes/
http://gwhs-stg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture-
profile/national-artists-of-the-philippines/ramon-obusan/
http://gwhs-stg02.i.gov.ph/~s2govnccaph/about-culture-and-arts/culture-
profile/national-artists-of-the-philippines/lucrecia-reyes-urtula/
ncca.gov.ph/about-culture-and-arts/culture-profile/national-artists-of-the-
philippines/leonor-orosa-goquingco/
https://ncca.gov.ph/about-culture-and-arts/culture-profile/national-
artists-of-the-philippines/

42
43
For inquiries or feedback, please write or call:

Department of Education - Bureau of Learning Resources (DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex

Meralco Avenue, Pasig City, Philippines 1600

Telefax: (632) 8634-1072; 8634-1054; 8631-4985

Email Address: blr.lrqad@deped.gov.ph * blr.lrpd@deped.gov.ph