Republic of the Philippines Department of Education Regional Office IX, Zamboanga Peninsula 7 PHYSICAL EDUCATION Quarter 3 – Module 2 : Folk Dance: (Forms of Philippine Folk Dance) Name of Learner: ___________________________ Grade & Section: ___________________________ 0 | P a g e Name of School: ___________________________ What I Need To Know This module is designed to walk you through understanding Philippine Folk dances depicting Philippine cultures. At the end of this module, you are expected to: ●Describe the nature and background of the dance. PE7RD-IIId-1 ●Execute the skills involved in the dance. PE7RD-IIId-h-4 OVERVIEW A country’s way of life and many other habits are often reflected in its folk music. From these dances, you gain an understanding of why people from certain places act and live as they do, even though modern times may have changed the lifestyle from that of the days gone by. Since folk dances depict the character of the people, these dances were never intended to be changed. Philippine folk dance is one of the Philippine cultures that incorporate influences from immigrants and conquerors while Filipinos were working in the fields, celebrating feasts, harvests, births and weddings. It is a true reflection of daily life of Filipinos in past centuries. Dances evolved from different regions which are distinct from one another as they are affected by the region and culture. 1 | P a g e What I know Directions: Write TRUE if the statement is correct, and FALSE if the statement is wrong. 1. _____ Tinikling Dance is form of dance. 2. _____ Fundamental Position of Arms and Feet is a basic step for a Folk dance. 3. _____ Philippine folk dance is the Philppine culture that incorporates infuences from immigrants and conquerors while at the same time maintaining their own national identity 4. _____ Folk dance is created and performed collectively by the ordinary people. 5. _____ Creative folk dance is referred to character dances whose choreography used folk steps and music 6. _____ Philippine folk dances are not diverse and include religious, ceremonial, 7. _____ “One arm raised sideward, the other arm overhead” is First position of Fundamental Position of the Arms. 8. _____ Singkil, Binasuan , Itik-Itik are examples of folk dance. 9. _____ Folk dance is a kind of exercise only. 10.____ All exercise must be having a Fundamental Position. 2 | P a g e What’s In Welcome to the first part of your lesson in Folk Dance! Ih this phase, you will be provided with activities that will activate your prior knowledge on the lesson. From here, follow-up activities to elicit your tentative understanding. As you go to the rest of activities, misconceptions and alternative conceptions you have in mind will be clarified. Finally, your knowledge, considering its adequacy and relevance, will be assessed at the end of this phase. Folk Dance refers to the dances created and performed collectively by the ordinary people. The term usually includes: so called “ethnic dances” such as those of the cultural community in the Cordillera, in Mindoro, Palawan, Sulu, and Mindanao; and the rural or lowland Christian dances, among the groups, like the Ilocano, pangasinan, tagalog, Pampango, Bicol, Cebuano, Ilongo, will be given to Waray. Folk dances may also be divided into “regional”, which refers to defers to dances particular to one locale or area; and the “national”, which are to those performed all over the country. A related term is “creative folk dance” which refers to character dances whose choreography uses folk steps and music. Philppine folk dances are diverse, and include religious, ceremonial, courtship, funeral, combative, torture, comic, and game dances. They have been named after saints, heroes, teachers, fereign steps or dances, their countries or regions of origin, events, tribes, Philippine steps, a combination of steps or of steps and places, and a combination of words. Philippine folk dances other than religious, ceremonial, and a few social are performed with attention to detail and after meticulous rehearsals. Filipino ethnic groups still believe in the efficacy of dance as a means of communicating with deity. Christianized Filipinos too dance to plead with, or to thank the Virgin Mary or a patron saint. As in Filipino religiosity, the influence of indigenous culture persists, despite colonization. Insects, reptiles, fowls, birds, simians, medicinal and frangarant plants, edible shoots, the national flower, bamboo nodes, and the sound of wind as it passess through the leaves have all been accorded recognition in Philippine dance. 3 | P a g e Activity 1 Process the activity with the following questions: 1. From the selection read, how do you describe folk dance? _____________________________________________________________________ _____________________________________________________________________ 2. What do you think are the benefits that can be gained from these dances? _____________________________________________________________________ _____________________________________________________________________ 3. In your own understanding, how important is folk dance to you? _____________________________________________________________________ _____________________________________________________________________ 4. What are the similarities and differences of folk dance with other dance genres like ballet and ballroom dances you previously learned? _____________________________________________________________________ _____________________________________________________________________ 5. Would you consider participating in a folk dance presentation/competition? Why?_______________________________________________________________ ____________________________________________________________________ What Is It Forms of Philippine Folk Dances Rural Dances Perhaps the known and closest to the Filipino hearts are the dances from the rural Christian lowlands: a country blessed with so much beauty. To the Filipinos, these dances illustrate the fiesta spirit and demonstrate a love of life. They express a joy in work, a love of life. They express a joy in work, a love for music, and pleasure in the simplicities of life. Typical attire in the Rural Suite includes the colorful Balintawak and Patadyong and skirts for women, and Camisa de Chino and colored trousers for men. Spanish Influence Dances The coming of the Spaniards in the 16th century brought a new influence in the Philippine life. A majority of the Filipinos were converted to Roman Catholicism. European cultural ideas spread and the Filipinos adapted and blended to meet the local conditions. These dances reached their zenith in popularity around the turn of the century, particularly among urban Filipinos. They are so named in honor of the legendary Maria Clara, who remains a symbol of the virtues and nobility of the Filipina woman. 4 | P a g e Maria Clara was the chief female character of Jose Rizal’s Noli Me Tangere. Displaying a very strong Spanish influence, these dances were, nonetheless, “Filipinized” as evidence of the use of bamboo castanets and abanico, or Asian fan. Typical attire for these dances is the formal Maria Clara dress and Barong Tagalog, an embroidered long-sleeve shirt made of pineapple fiber. Mindanao Dances Mindanao and Sulu were never conquered by Spain. Islam was introduced in the Philippines in the 12th century before the discovery of the islands by Magellan in 1521. The dances in Muslim however predated the Muslim influence. Like Ipat wich was a dance to appease ancestral spirits. Before Islam, the Maguindanaons held the view that diseases are caused by tonong (ancestral spirits). Thus, a folk healer performs the pag-ipat while being possessed by the tinunungan (spirit). Another is the dance Baluang which creates the illusion of an angry monkey, and is always performed by male dancers. The popularity of this dance comes naturally, since the baluang, or monkey, enjoys an affectionate place in Asian folklore. Singkil was introduced after the 14th century. It was based on the epic legend of Darangan of the Maranao people of Mindanao. It tells of the story of a Muslim Princess, Gandingan who was caught in the middle of a forest during an earthquake caused by the diwatas, or fairies of the forest. Cordillera Dances These are the dances of mountain tribes in Northern Luzon, such as those of the Kalinga and Ifugao people. Cordillera, a name given by the Spanish Conquistadors when they first saw the mountain ranges. Meaning “knotted rope”, the Spanish term refers to the jumbled rolls and dips of this long-range traversing the northern part of part of Luzon Island. Today, if one is to generalize one of the six ethno-linguistics tribes as an “Igorot” is considered degrading. Living amidst the rice terraces that tower over Northern Luzon are a people whose way of life existed long before any Spaniard or other foreigners stepped foot on the Philippines. The Bontoc, Ifugao, Benguet, Apayao, and the Kalinga tribes reign over Luzon’s mountain terrain. Ethnic/Tribal Dances The cultural minorities that live in the hills and mountains throughout the Philippine Archipelago considered dances as basic part of their lives. Their Culture and animistic beliefs predated Christianity and Islam. Dances are performed essentially for the gods. As in most ancient cultures, unlike the Muslim tribes in their midst, their dances are nonetheless closely intertwined with ceremonials and rituals. Rinambo and Talbeng are examples of these dances. 5 | P a g e Activity 2: Perfect