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REVIEW
DIRECTION: READ THE STATEMENTS CAREFULLY.
WRITE TRUE IF THE STATEMENT IS TRUE AND FALSE IF
IT IS NOT.
1. BARRIERS IN EXERCISING AND BECOMING MORE
ACTIVE ARE PERSONAL AND VARY INDIVIDUALLY.
TRUE
2. EXERCISE FOR A HEALTHY LIFESTYLE SHOULD BE DONE AT
MOST THREE TIMES A WEEK.
FALSE
3. PHYSICAL FITNESS IS A PERSONAL RESPONSIBILITY.
TRUE
4. PHYSICAL INACTIVITY MAY INCREASE THE RISK OF CERTAIN
CANCERS.
TRUE
5. LACK OF PHYSICAL ACTIVITY CAN CONTRIBUTE TO FEELINGS OF ANXIETY
AND DEPRESSION.
TRUE
•REFERS TO THE DANCES CREATED AND PERFORMED COLLECTIVELY BY
THE ORDINARY PEOPLE.
•DEFINED AS A TRADITIONAL DANCE OF A GIVEN GROUP OF PEOPLE.
•IT MAY ALSO BE DIVIDED INTO REGIONAL AND NATIONAL.
KIND OF FOLK DANCE
•REGIONAL – REFERS TO DANCE PARTICULAR TO ONE
LOCALE OR AREA.
•NATIONAL – REFERS TO DANCE PERFORMED ALL
OVER THE COUNTRY.
FORMS OF PHILIPPINE FOLK DANCES:
•RURAL DANCE – BEST KNOWN AND CLOSE TO
THE FILIPINO HEART, THESE DANCES ARE FROM
THE RURAL CHRISTIAN LOWLANDS, IT ALSO
ILLUSTRATES THE FIESTA SPIRIT AND
DEMONSTRATE A LOVE OF LIFE. EX. BAKYA-
SALAKOT, SAYAW SA BANGKO, BULAKLAKAN
FORMS OF PHILIPPINE FOLK DANCES:
•SPANISH INFLUENCE DANCE – THE COMING OF THE
SPANIARDS IN THE 16TH CENTURY BROUGHT A
NEW INFLUENCE IN PHILIPPINE LIFE. THEY ARE
NAMED IN HONOR OF THE LEGENDARY MARIA
CLARA. EX. PANDANGO, LANCEROS, RIGODON,
CARIÑOSA, CURACHA
FORMS OF PHILIPPINE FOLK DANCES:
•MINDANAO DANCE – MINDANAO AND SULU WERE
NEVER CONQUERED BY SPAIN. THE DANCES IN
MUSLIM HOWEVER PREDATED THE MUSLIM
INFLUENCE. SINGKILWAS INTRODUCED AFTER THE
14TH CENTURY; IT WAS BASED ON THE EPIC LEGEND
OF DARANGAN OF THE MARANAO. EX. SINGKIL,
PANGALAY, SAGAYAN, MAGLANGKA, KAPPA MALONG.
FORMS OF PHILIPPINE FOLK DANCES:
•CORDILLERA DANCES – THESE ARE THE DANCES
OF MOUNTAIN TRIBE 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 RANGERS. EX. BANGA, BENDAYAN,
MANMANOK, TURAYEN, UYAOY/ UYAUY.
FORMS OF PHILIPPINE FOLK DANCES:
•ETHNIC/TRIBAL DANCES – THE CULTURAL
MINORITIES THAT LIVE IN THE HILLS AND
MOUNTAINS THROUGHOUT THE PHILIPPINE
ARCHIPELAGO CONSIDERED DANCES AS A
BASIC PART OF THEIR LIVES. RINAMPO AND
TALBENG ARE EXAMPLES OF THESE DANCES.
EX. BINANOG, INAGONG, TINAMBOL, BINAYLAN,
PINAGKABULA, TALUPAK
FUNDAMENTAL POSITION OF FEET
1ST POSITION
HEELS TOGETHER TOES APART WITH
AN ANGLE OF 45 DEGREES
2ND POSITION
ASTRIDE SIDEWARD OF ABOUT A
PACE OR 1 FOOT DISTANCE
3RD POSITION
HEEL OF ONE FOOT CLOSE TO
THE IN-STEP OF THE OTHER
FOOT
4TH POSITION
ONE FOOT IN FRONT OF THE
OTHER ABOUT A PACE
DISTANCE.
5TH POSITION
HEEL OF FRONT FOOT CLOSE TO
THE BIG TOE OF THE REAR
FOOT.
FUNDAMENTAL POSITION OF HANDS
1ST POSITION
ENCIRCLE BOTH ARMS IN FRONT
OF THE CHEST WITH THE FINGER
TIPS ABOUT AN INCH APART
2ND POSITION
BOTH ARMS RAISED
SIDEWARD WITH A GRACEFUL
CURVE
3RD POSITION
ONE ARM RAISED SIDEWARD
THE OTHER ARM OVERHEAD
4TH POSITION
ONE ARM IN A HALF CIRCLE IN
FRONT AND THE OTHER ARM
RAISED OVER HEAD
5TH POSITION
BOTH HANDS RAISED
OVERHEAD

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Exercise-Program-FOLK-DANCE.pptx

  • 1. REVIEW DIRECTION: READ THE STATEMENTS CAREFULLY. WRITE TRUE IF THE STATEMENT IS TRUE AND FALSE IF IT IS NOT.
  • 2. 1. BARRIERS IN EXERCISING AND BECOMING MORE ACTIVE ARE PERSONAL AND VARY INDIVIDUALLY. TRUE
  • 3. 2. EXERCISE FOR A HEALTHY LIFESTYLE SHOULD BE DONE AT MOST THREE TIMES A WEEK. FALSE
  • 4. 3. PHYSICAL FITNESS IS A PERSONAL RESPONSIBILITY. TRUE
  • 5. 4. PHYSICAL INACTIVITY MAY INCREASE THE RISK OF CERTAIN CANCERS. TRUE
  • 6. 5. LACK OF PHYSICAL ACTIVITY CAN CONTRIBUTE TO FEELINGS OF ANXIETY AND DEPRESSION. TRUE
  • 7.
  • 8. •REFERS TO THE DANCES CREATED AND PERFORMED COLLECTIVELY BY THE ORDINARY PEOPLE. •DEFINED AS A TRADITIONAL DANCE OF A GIVEN GROUP OF PEOPLE. •IT MAY ALSO BE DIVIDED INTO REGIONAL AND NATIONAL.
  • 9. KIND OF FOLK DANCE •REGIONAL – REFERS TO DANCE PARTICULAR TO ONE LOCALE OR AREA. •NATIONAL – REFERS TO DANCE PERFORMED ALL OVER THE COUNTRY.
  • 10. FORMS OF PHILIPPINE FOLK DANCES: •RURAL DANCE – BEST KNOWN AND CLOSE TO THE FILIPINO HEART, THESE DANCES ARE FROM THE RURAL CHRISTIAN LOWLANDS, IT ALSO ILLUSTRATES THE FIESTA SPIRIT AND DEMONSTRATE A LOVE OF LIFE. EX. BAKYA- SALAKOT, SAYAW SA BANGKO, BULAKLAKAN
  • 11. FORMS OF PHILIPPINE FOLK DANCES: •SPANISH INFLUENCE DANCE – THE COMING OF THE SPANIARDS IN THE 16TH CENTURY BROUGHT A NEW INFLUENCE IN PHILIPPINE LIFE. THEY ARE NAMED IN HONOR OF THE LEGENDARY MARIA CLARA. EX. PANDANGO, LANCEROS, RIGODON, CARIÑOSA, CURACHA
  • 12. FORMS OF PHILIPPINE FOLK DANCES: •MINDANAO DANCE – MINDANAO AND SULU WERE NEVER CONQUERED BY SPAIN. THE DANCES IN MUSLIM HOWEVER PREDATED THE MUSLIM INFLUENCE. SINGKILWAS INTRODUCED AFTER THE 14TH CENTURY; IT WAS BASED ON THE EPIC LEGEND OF DARANGAN OF THE MARANAO. EX. SINGKIL, PANGALAY, SAGAYAN, MAGLANGKA, KAPPA MALONG.
  • 13. FORMS OF PHILIPPINE FOLK DANCES: •CORDILLERA DANCES – THESE ARE THE DANCES OF MOUNTAIN TRIBE 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 RANGERS. EX. BANGA, BENDAYAN, MANMANOK, TURAYEN, UYAOY/ UYAUY.
  • 14. FORMS OF PHILIPPINE FOLK DANCES: •ETHNIC/TRIBAL DANCES – THE CULTURAL MINORITIES THAT LIVE IN THE HILLS AND MOUNTAINS THROUGHOUT THE PHILIPPINE ARCHIPELAGO CONSIDERED DANCES AS A BASIC PART OF THEIR LIVES. RINAMPO AND TALBENG ARE EXAMPLES OF THESE DANCES. EX. BINANOG, INAGONG, TINAMBOL, BINAYLAN, PINAGKABULA, TALUPAK
  • 15. FUNDAMENTAL POSITION OF FEET 1ST POSITION HEELS TOGETHER TOES APART WITH AN ANGLE OF 45 DEGREES
  • 16. 2ND POSITION ASTRIDE SIDEWARD OF ABOUT A PACE OR 1 FOOT DISTANCE
  • 17. 3RD POSITION HEEL OF ONE FOOT CLOSE TO THE IN-STEP OF THE OTHER FOOT
  • 18. 4TH POSITION ONE FOOT IN FRONT OF THE OTHER ABOUT A PACE DISTANCE.
  • 19. 5TH POSITION HEEL OF FRONT FOOT CLOSE TO THE BIG TOE OF THE REAR FOOT.
  • 20. FUNDAMENTAL POSITION OF HANDS 1ST POSITION ENCIRCLE BOTH ARMS IN FRONT OF THE CHEST WITH THE FINGER TIPS ABOUT AN INCH APART
  • 21. 2ND POSITION BOTH ARMS RAISED SIDEWARD WITH A GRACEFUL CURVE
  • 22. 3RD POSITION ONE ARM RAISED SIDEWARD THE OTHER ARM OVERHEAD
  • 23. 4TH POSITION ONE ARM IN A HALF CIRCLE IN FRONT AND THE OTHER ARM RAISED OVER HEAD
  • 24. 5TH POSITION BOTH HANDS RAISED OVERHEAD

Editor's Notes

  1. REFLECTS THE SIMPLE LIFE OF THE PEOPLE IN BARRIO. DEPICTS COMMON WORKS, AND DAILY ACTIVITIES OF THE PEASANT. PERFORMED DURING FIESTAS TO HONOR PATRON SAINTS. SHOW GEITY, LAUHGTER AND FESTIVITIES.