MODULE IN PHYSICAL EDUCATION 102

(RHYTHMIC ACTIVITIES/ DANCE AND RHYTHM)

By:

NIQUI JOY F. MAJARUCON, M.A.Ed.-P.E.

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Course Title: Rhythmic Activities/ Dance and Rhythm

Course Description: The course deals with the study of different forms of rhythmic activities.
The emphasis and interpreting of fundamentals and basic steps and patterns of dance
forms. It focuses also on the discovery of how rhythmic movement will be used
creativity.
Rhythmic activities are used primarily to stimulate the creative imagination of
students to increase the variety of movement experiences as an outlet of their ideas.
Creative rhythm provides excellent possibilities not only for self-expression but also for
total development. Poise, grace, posture, self-control and projection will be developed
through dance activities. Students should be prepared to use dance activities as part of
their leisure in an intelligent and profitable way.

Credit Hours: 2 hours per week

Pre-requisite/s: None

Program Objective:

Objectives of the Physical Education Program

1. To inculcate the minds of the students, on the preservation of man and his
environment, his cultural, moral and social heritage as a foundation of the Philippine
Physical Education System;
2. To recognize and analyze the contribution of Physical Education to the total well-being
and rich and full of life of an individual;
3. To perform activities which are valuable and that are satisfying and can be applied
outside the school;
4. To develop a nation of participants; a nation not as spectators but a nation of
participants in the “vigorous life”, and
5. To recognize the rights and privileges of women that could enhance the gender issues in
the society.

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 MODULE I, LESSON 1

DANCE HISTORY/ DEVELOPMENT

Introduction:

In the Philippines, dance is as diverse as the cultural intermingling in the Archipelago. It

encompasses all the dance forms that have been used by the Filipinos through the centuries to
express themselves. This dazzling diversity in different form and dynamics grew out of the
times, situations, and experiences of the people and the exposure to the varied cultures and
traditions. Introduced by the waves of colonial rule that have reached the Philippine shores.
(Alejandro, 1978)

In this module you will be fastening your seatbelt, for you will have your time travel on
how dance developed way back from Primitive, Spanish to American era, so that you will be
enlightened to the beauty of our dance history.

Read and understand the discussion and answer the questions that follow, and/or send
to [email protected]

Learning Outputs/ Intended Learning Outcomes:

Upon completion of this module, you will be able to:

1. Discussed the historical development of Philippine dances from Primitive, Spanish to

American era.
2. Enumerated the different classification of Philippine dances.
3. Described the different classifications of Philippine dances.
4. Appreciated the beauty on how Philippine dances evolved.

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Learning Content:

EVOLUTION OF DANCE

To better appreciate and understand the history and development of dance, one must
begin with the dance of the “primitive man” which was technically the first dance form of any
people. “Primitive Dance” is a dance which is considered as a dance in its purest form because
this particular dance form has not been, developed, trained, or guided by an artist. As with
most primitive cultures, the early people of the Philippines believed that their fate lay in the
hands of their gods. To the early Filipinos, dance was an expression of community life that
animates the various rituals and ceremonies.
Ethnic dances are found among the ethnolinguistic groups scattered all over the
Philippine Island, who have not been substantially westernized, either by Spain or the United
States. The mountain regions of Northern Luzon are known by the poetic term Philippine
skyland. Inhabiting that rugged terrain are six ethnolinguistic peoples known as the Cordillera or
Mountain People. The tribes are the Ibaloy, Kankanai, Ifugao. Kalinga, Apayao, and Bontocs.
While each has its own distinctive patterns, these mountain tribes share enough
common socio-cultural traits to constitute a loose homogenous group. They share common
religious beliefs, generally animistic, and make propitiatory offerings to household gods called
“anitos”, in the course of which dancing occurs. Tribesmen usually dance around a sacred idol
or fire depending upon the purpose of the dance.
Among these people, dance continues to be an expression of community life that
animates various rituals and ceremonies. It serves for self-edification of performers and for
entertainment of spectators. They dance to appease ancestors and gods, to cure ailments, to
insure success in war-making activities or to ward off ill-luck or natural calamities, and to
congregate and socialize for general welfare and recreation and as an outlet for repressed
feelings, to insure bountiful harvests and favorable weather, and to mark milestone in the life
cycles of birth, wedding, and death.
Cordillera dances are less structured and less formal than most Philippine ethnic and
folk dances. Most steps and movement of the hands go downward to express the affinity with,
and closeness to the earth. The symbolic raising of one arm obliquely forward and upward is a
characteristic prayer and attitude in the Cordillera religious dances. When the palm faces the
earth, these expresses one’s activities to celebrating performances. (Alejandro, 1978)
Deep South in the Philippines lie the inscrutable island of Mindanao with its strong
Moslem flavor. Arabs, Hindus, Chines, and Persians as well as merchants from other parts of
Asia (Thailand, Cambodia, and Indochina) traded wares in the southern parts and through their
economic contact brought about social and cultural exchanges. The inhabitants of the
Mindanao and Sulu Archipelago particularly had an early and continuous touch of the Hindu-
Arabic-Malayan cultures. Of these groups, nine Filipino tribes embraced Islam.
Three of these groups live in the island of Mindanao – the Maranao around the lake
Lanao, the Maguinadanai in Cotabato, and the Sanggil in Southern Cotabato. In the Sulu
Archipelago, the Yakan are on Basilan Island, the Samal are in Tawi-Tawi and adjacent islands,
the Jama Mapun in Cagayan de Sulu, and the Tausug in the main island of the Sulu Archipelago.

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The Malbog inhabit Balabae island, and the Palawani occupy the southern part of Palawan. The
Bajaos or sea gypsies, live offshore on parts of Palawan, Jolo, Siasi, and Tawi-Tawi.
In their dance, the Moslem tribes exhibited traits that link them not only to the Indo-
Malayan worlds but also to the other Islamic cultures of the East. (Alejandro, 1978)
Moslem Dance style have absorbed Hindu-Malayan-Arabic influences, combining them
in different degrees of intensity, thus evolving a dance and music unmistakably Philippines with
its own elusive atmosphere and mood. (Alejandro, 1978)
Pockets of cultural minorities other than the Cordillera people live in isolation in hills
and mountains throughout the archipelago. Dance for them is a basic part of life, still performes
essentially “for the gods”, and generally exhibiting a rhythmic movement of simple skill. These
dances are rustic in nature and are shared in common b tribes from northern Luzon to the
deepest south of the Sulu seas.

Classification of Primitive Dances

1. Ritual Dances – dances that connect the material world

to the spiritual.
Rituals sustain the spiritual and social life of the
indigenous Filipinos. Closely
attuned to nature, believing in the spirits that keep the
environment fruitful and their selves alive, the ethnic
Filipinos enact these rites – always with instrumental
music, chanting and often dancing – as “part of
communal life cycles, but they also serve as a popular
medium of dramatic expression and entertainment that
reflects the people’s nature, culture and aspirations”. (Amilbangsa, 1983)
The Babaylan or medicine men of primitive cultures whose powers to invoke the
assistance of a god were feared and respected, were considered by many to be the first
choreographers or composers of formal dances.
At the center of these rites are the baylan or babaylan. Below are examples of
ritual dances.

 Ginum - a lavish feast in honor of tribal gods of the Bagobo tribe. (Alejandro,
1978).
 Pagdiwata – the Tagbanuas of Palawan perform this dance in gratitude for a
good harvest, to implore continued protection and favor from the deities and
for general well-being. (Alejandro, 1978).
 Dugso – a dance of the Manobos of Bukidnon, is a thanksgiving for a
bountiful harvest, the birth of a male child, or a victory in war. (Alejandro,
1978).
 Sohten – the Subanon dance that supplicates the spirits to give strength and
courage to a warrior who shakes a shield and palm leaves. (Villaluz and
Obusan, 1992).

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  Bendian – a Benguet dance to heal a prolonged illness, relieve natural
calamities such as famine and draught and to celebrate a victory in war.
(Sayaw, 1979 National Dance Workshop, Ramon A. Obusan).
 Tahing Baila – a prayer dance for a bountiful fish catch. (Bacobo-Olivar,
1971).
 Manerwap – a Bontoc Igorot ritual to invoke the rain god to shower his
blessings, lasting from two or three days until the rain falls. (Alejandro,
1978).
 Iyag – is held to drive vermin of infestation from crops, to drive out diseases
in general, to ask for good harvest, or to celebrate the end of a ripe planting
season. (Alejandro, 1978).
 Magjinn or Pagjinn – from Sitangki Tawi-Tawi is an entrancing Badjaw Spirit
dance which is performed on the 14th moon to drive away an unfriendly
“jinn” (spirit). (Amilbangsa, 1983).
 Magjuwata – a Samal dance ritual to drive away spirits that cause illness. All
performers, except the dance leader, are female. Food offerings in coconut
shells are placed on a tray with a “tugtugan” (incense burner). Towards the
end of the ritual, the leader symbolically “whips” the “jinn” with a
“bagaygay” (betel flower clustered) actually the patient who receives the
blow. (Amilbangsa, 1983).
 Magomboh – a dance from Tawi-Tawi performed on a Friday eve when the
moon is full, either to:
a. Foretell the future;
b. Drive away “busung” (ill luck); or
c. Invoke the help o spirits in recovering stolen property. (Amilbangsa,
1983).

In summary, dance rituals were performed to:

1. Worship their gods;
2. Drive away harmful spirits;
3. Thanksgiving for a bountiful harvest;
4. Counteract forces beyond their control that cause illness or ill luck;
5. Appease or invoke the help of spirits; and
6. Fulfill psychological and disciplinary functions always in accord with needs.
(Amilbangsa, 1983).

2. Life-Cycle Dances – are dances which celebrates and

individual’s birth, baptism, courtship, wedding, and
demise.
 Turayan – a courtship dance of the
Maducayan Tribe of Bontoc, where the
male struts like a rooster while the female
follows passively. (Alejandro, 1978).

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  Tuppaya – is a Kalinga courtship dance in which the male brandishes a piece
of cloth (like a matador) and the girl follows. (Alejandro, 1978).
 Igal Ha Agong - the female dancer teases a male dances who literally rolls,
crawls, kneels, and follows her about all the while expertly beating an
“Agung”. (Amilbangsa, 1983).
 Pangasig - the male dancer skillfully plays a “tungtung” (small gong) while
dancing around and teases a female dancing partner who pretends not to
notice his advances. (Amilbangsa, 1983).
 Manmanok – a Bagos courtship dance which is an imitation of two mating
fowls. Dancers use blankets that are spread out with their hands or are kept
around the hips. The men seem to scratch the ground, while the women
keep shuffling steps close together and to the ground.
 Daling-daling – a Tausug dance that displays grace as much as affection. It is
considered a courtship dance especially when done in pairs.
 Pinanyo-an- dance to entertain newlyweds with the man and woman dancing
with handkerchief. The man chases the woman and moves like a rooster
courting a hen.
 Pangalay Pangantin- Samal-Badjaw dance in the “Panagalay”
 style performed by the bride. A flag or bridal curtain shields the dancing
bride
 from the groom. As he follows, he keeps touching the hilt of his “Kris”
signifying his readiness to defend the bride. The carrier of the bamboo pole
to which the flag or the bridal curtain is tied also wear a “Kris” for the same
reason. (Amilbangsa, 1983).
 Salip - Kalinga tribe dance where the groom beats the gong while the bride
bearing oil symbolizing an even-flowing, harmonious marital life, follows with
step phrased to connote obedience. The groom dances imitating the
movements of a rooster at love play to attract and seize his lady love.
(Alejandro, 1978).

3. Occupational Dances – are dances which transform

defense and livelihood activities to celebratory
performances.
Life in the ethnic communities is characterized by a
variety of activities relating to livelihood or
defense. Occupational dances depict community
activities such as planting, fishing, and hunting
performed for celebration of work are usually
playful and vibrant dances infused with story
meaning, and were constant sources of delight
among the people. Those close to the sea enact
fishing.

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  Tudak (Bukidnon) acts out a whole sequence of the rice cycle into dance.
 Tauti is an unusually exciting occupational dance which vividly portrays the
labors of catching “tauti” (catfish). (Amilbangsa, 1983).

4. Mimetic Dances – are special dances which mimetic in

nature. The surrounding animal life also easily lends itself
to imitative dances that are both graphic and symbolic.

 Sayaw Tu Baud or Pigeon Dance- imitation of

the flight of pigeons from the
hunters stalking them. (Bacobo-Olivar,
1971).
 Ninanog- imitation of the movements of the
hawk as it pounced on his quarry (game pursued by the hunter). (Bacobo-
Olivar, 1971).
 Kinutan or Ant Dance- showed a man dancing a gesticulating to another
person who had been attacked by ants. (Bacobo-Olivar, 1971).
 Camote or Yam Dance- imitated movements of a man attempting to steal
“camote”. (Alejandro, 1978).
 Pinuhag- imitated movements of a bee gathering honey. (Bacobo-Olivar,
1971).
 Inamo-amo- mimicked the movements of a monkey as it bounced and
gambled. (Bacobo-Olivar, 1971).
 Langka Baluang- mimicked an ill-tempered monkey at once funny and
Intimidating. (Amilbangsa, 1983).
 Igal Kussah- depicts a wild boar trying to crack a coconut. The dance creates
hysterical excitement. (Amilbangsa, 1983).

Primitive dances of the Filipino draw thneir inspiration from the different images around
them and religious and social activities of the tribe which are of communal purpose. They may
also have learned many of their dance movements and patterns from the birds and animals
around them.
Many birds and fowls, such as the roosters and the turkeys, go through courtship rituals
that are very much like simple primitive dance patterns.
This was the scenario of primitive life and cultures when the Spaniards came to the
Philippines.

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 THE SPANISH ERA

The Spaniards came to the Philippines

on March 16, 1521 and colonized the
Philippine Islands for 333 years. When
Spaniards landed on the Philippine shores
their catholic missionaries had to contend
with an ancient heritage of pagan beliefs. To
make the superimposition of Catholicism
appealing, the less pagan of the native
traditions were incorporated into the rituals of
the church thus creating an odd but attractive
mixture of Christian beliefs and heathen
practices. Native dances were modified and
used in the rites celebrating the Christian holy days and religious fiestas turn native to a certain
extent and became vehicle for the Filipino way of spiritual and communal expression. Thus
dance became an important teaching aid in the Spanish educational process. (Alejandro, 1978)
As the Spanish government imposed itself on the people and the Filipinos were
proselytized into Christianity, the European way of life filtered down into the people’s social
and economic activities. The natives started to lose their ancient traditions in literary, visual,
and performing arts. With the introduction of European culture, many of the old native dances
disappeared and were slowly displaced by the Spanish dances. In no time, dances from Spain,
France and other European countries, such as the jota, valse, fandango, habanera, rigodon,
mazurka, schottische, paseo and paso doble, were adapted and adapted to the tastes and
needs of a colonial society and the conditions of climate and seasons in a tropical archipelago.
Exposed for almost four centuries to the influence of the European dances, the Filipinos
gradually assimilated these dances, evolving their own simplified versions and derivations of
the different forms with each region adding its own touches. The elegance of the body and arm
movements of foreign dances fascinated the Filipinos, so they adopted these. However, the
sharp and fast movements of the European dances were tempered and softened by the languid
grace that is the characteristic of many Filipino dances. Costumes and props associated with the
original dances were either adopted or done away with. (CCP Encyclopedia of Philippine Art and
Philippine Dance. Vol. V, 1994)
However, the Spaniards did not teach the natives their dances. The wealthy Indios
Filipinos, who on state occasions, socialized with the colonial masters, merely copied and
disseminated these dances among themselves. On the sideline, the peasant Filipinos
enthusiastically watched the peninsulares danced. They selected individual steps from
different dances and made new combinations were incorporating the steps, moods, and styles
into their own dances but injecting their own regional characteristics, temperament and
personality into these dances giving them a distinctly Filipino character. Luckily, the Spaniards
failed to influence the fierce mountain tribes of Luzon and the minority groups existing in the
hills of the Visayas, Palawan, Mindanao, and the Sulu Archipelago. It is among these groups that
the indigenous forms of dance in the Philippines survived to this day. (Alejandro, 1978)

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 THE AMERICAN ERA

On December 10, 1898, in the Treaty of

Paris, Spain ceded the Philippines to the United
States for 20 million dollars ($20, 000.00). The
Americans established schools all over the
islands were physical education was given a
prominent place in the program. However, the
coming of an American ushered an era that
drastically changed and modified the Filipino way
of life.
In the half-century of of direct American
rule from 1906 to 1946 and the half century of
continued American presence in the country, the
American introduced major changes in political,
economic, educational, and cultural sectors.
In dance, America made its presence felt in “bodabil” dancing, a term which come from
France “voix de ville” – street songs, which was dancing in the variety show which consisted
mainly of popular and theatrical dances from U.S.A., but later included Philippine folk dances
and choreographies among its production number. America also introduced to the Philippines
ballet and modern dance, as well as social or ballroom dancing such as the Cakewalk, the Swing,
the Big Apple, the Lindy Hop,, the Charleston, the Foxtrot, and the Slow Drag. From the
Caribbean were the Tango, Rumba, Samba, Paso Doble, Mambo, Cha-Cha, and later the Limbo
Rock.
The American teachers also introduced in the physical education programs, American
and foreign folk dances which threatened to completely destroy the well-cherished Philippine
tradition and culture. Philippine folk dances, which the native taught were out of date, were
relegated to the background. These were the influence of the Americans in the development of
dance in the Philippines. (Reynaldo, 1978)
Appalled by the proliferation of foreign and American folk dances and the utter neglect
and disregard of Philippine dances, Dr. Jorge C. Bacobo, then President of the University of the
Philippines, Diliman, Quezon City spearheaded the move to revive them by sending, in 1927,
Mrs. Francisca Reyes Tolentino (later to become Mrs. Francisca R. Aquino) to the provinces to
collect, transcribe, and record folk dances and music. Mr. Antonino Buenaventura who
recorded the folk music and Mr. Ramon Tolentino, who look still pictures of the dances,
accompanied Mrs. Tolentino. These three, with the full moral support of Dr. Jorge C. Bacobo
and the U.P. Art Council, went out every summer to the remotest barrios in the provinces and
gathered their materials directly from the old people who used to dance them during their
young years. Thus, Philippine folk dance was saved from total obliterative incursion of the West
(Bacobo-Olivar, 1971)
The development of dance in the Philippines is generally credited to the effort of
Francisca Reyes Aquino and Leonor Orosa Goquinco. Aquino was one woman who saved the
Filipino folk dances from the incursions of the American and Jazz Age. Aquino pioneered in the

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research and revival of Philippine folk dance and music in the 1920’s and is regarded as the
foremost authority on the Philippine folk dances. Orosa, on the other hand, elevated folk dance
to artistic and creative levels by making use of Filipino folklore in creating new dances to
express the Filipino experience. Mrs. Goquinco has made it possible for Philippine dance groups
to break out of the folk dance mold and build a new vocabulary using the disciplines of ballet
and modern dance to express Philippine themes. (Reynaldo, 1978)
For all their outstanding efforts, the Filipino people owe a debt of gratitude to Dr. Jorge
C. Bacobo, to Mrs. Francisca Reyes Aquino, and to Mr. Antonino Buenaventura, for having been
instrumental in the preservation and later propagation of Philippine folk dances and music for
posterity.
Today, Philippine dance are no longer communal in purpose but are highly theatricalized. There
are even choreographed dances based on folk elements. As Filipinos, we have the responsibility
to promote, propagate and preserve Philippine folk dances for posterity.
Philippine folk dances became a part of the physical education program in the Philippine
Public Schools in 1915 (cited by Aquino, 1982).

Summary:

Dance has certainly been an important part of ceremony, rituals, celebrations, and
entertainment since before the birth of the earliest human civilizations.
Philippine dances are deeply rooted in our culture and when the colonizers came into
our country changes happened specifically in our dances; Spaniards modified our native dances
and use it in the rites celebrating the Christian holy days and religious fiestas but luckily they f;
Spaniards modified our native dances and use it in the rites celebrating the Christian holy days
and religious fiestas but luckily they failed to influence the dances in the mountain tribes of
Luzon and the minority groups existing in the hills of Visayas, Palawan, Mindanao, and the Sulu
Archipelago; and the American colonization they introduced foreign and American folk dances
and neglect and disregard the Philippine dances, but because of the urge of Dr. Jorge C. Bacobo
together with Mrs. Francisca Reyes Aquino and Mr. Antonino Buenaventura Philippine dances
were revived.

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Assessment:

After you explored the history of Philippine dances let’s check what you have learned from
this module by answering the questions that follows. Then, challenge yourself by discovering
more about the development of dance by doing the activity in the last part of this assessment.

1. Discuss in three to five sentences the contribution of each era to the development of
Philippine dances. (5 pts. for each correct answer).

a. PRIMITIVE ERA
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b. SPANISH ERA

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c. AMERICAN ERA

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2. Identify and describe in not more than 50 words each, the different classification of
Primitive dances. (5pts. for each correct answer)
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TO DO: Look What I Have Found!

Search for a pictures of the different dances taught/contributed by each era in the
history of Philippine dances. Post only one picture for each era.

PRIMITIVE ERA SPANISH ERA AMERICAN ERA

References:

1. Reyes et al., Manual in Rhythmic Activities/ Dance and Rhythm, A.Y. 2014-2015

2. Piamonte and Porras, Teaching Guide in Phil. Folk Dance and Recreational Ballroom Dancing, 2010

∞∞∞End of Module I, Lesson 1∞∞∞

STUDENT’S NAME : _____________________________________________

COURSE & SECTION : __________________________________________

SUBJECT : __________________________________________

DATE SUBMITTED : __________________________________________

TEACHER : NIQUI JOY F. MAJARUCON, M.A..Ed. P.E.

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