P.E Grade 8

ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE IN RHYTHMWeight Musicality Degree of Difficulty Characterization (Timing, Dynamics, (Complexity and (Behavior During and Mastery) Intricacy in the Use Performance) of Rhythmic Patterns in Various Meters) 40% 40% 20% MASTERFUL: Performs SKILLFUL: Creates skillful MATURE: Demonstrates rhythmic composition with composition of complex proper characterization and5 high level of musicality while and intricate rhythmic appropriate behavior in the observing proper timing, patterns in duple, triple, performance and with high dynamics and mastery and quadruple meters. level of confidence STRATEGIC: Performs COMPETENT: Creates a SENSITIVE: Demonstrates rhythmic compositions with a certain degree of skillful proper characterization and4 certain level of musicality composition of complex appropriate behavior in the performance and with a while observing proper timing, rhythmic patterns in certain level of confidence and mastery but with limited duple, triple, and ability to perfom with quadruple meters. dynamics3 ABLE: Performs rhythmic PRACTITIONER: Creates a AWARE: Demonstrates compositions with mastery commonly accepted generally acceptable and limited but growing ability composition of simple characterization and proper to perform with timing and rhythmic patterns in behavior towards the dynamics duple, triple, and performance and with a quadruple meters. certain level of confidence APPRENTICE: Performs APPRENTICE: Creates DECENTERING: Displays srhythmic compositions with rhythmic patterns but inconsistent2 general mastery but could could hardly distinguish characterization and differences among duple, demonstrates low level of hardly adapt to varying dynamics and timing triple, and quadruple confidence meters NOVICE: Performs rhythmic NOVICE: can not create EGOCENTRIC: Has little or patterns with low or no any rhythmic pattern at all no characterization and1 mastery, timing, and dynamics behaves inappropriately towards the performance200

You’re smart! Now I think you’re ready for the next activity which is more challenging than the previous one. Keep going. PART III- WHAT TO REFLECT AND UNDERSTAND Activity 5- Fill-in-the-Gap 1. In this activity, I have learned to realize that ________________________. 2. I can create rhythmic patterns by ________________________________. ________________, and using any_______________________________. 3. To be able to make rhythm complete, the principles of accent, intensity, __________ and _______ should be observed. 4. I can make my life more colourful and meaningful by being_______________ in the same manner as it can be applied to music. 5. For me, rhythm is just as important as _____________ because without it, ________________. 201

Now that you have realized the importance of rhythm, you may now apply the knowledge you gained to the next activity which is important in the performance of any dance. PART IV: WHAT TO TRANSFER Activity 6- DANCE INTO THE GROOVE! With the same grouping that you had in Activity 4, Let’s Get Loud, perform again the rhythmic combinations that you composed while doing the following: 1. Based on videos you saw earlier in the Pre-assessment Activity and Activity 1, create a dance-improvisation using any hand or body movements that would jibe with the sound or rhytmic pattern you created. 2. Always observe the elements of space and movement while doing the routine. 3. Perform the whole routine of dance and sound improvisations with proper expressions and gestures.202

Did you enjoy the activity? You must be sweating out now. Perspiring while doing the activity is a good indication of good health because your heart beats faster as it pumps harder while dancing. You know pretty well that dancing is a good exercise, thus, you are keeping your heart healthy. Since you have already started doing some movements, it’s now time for you to test your own dancing skills by doing the next activity. Enjoy and have fun while mastering the rudiments!LESSON III Basic Steps in Folk Dancing In this lesson, you will be made familiar with the basic steps and armmovements of the dances: “Binislakan, Sakuting, Sua-Ku-Sua, Pangalay andTiklos”. This will give you a clear understanding of the nature of these folk dances. If you study the literatures of these dances found at the end of this module,you will notice distinct steps and movements that are inherent in each dance. The following dance terms and dance steps are basically used in Binislakan,Sakuting, Sua-Ku-Sua, Pangalay and Tiklos. You are to master all these dancesteps which will be used later in your performance test. Study them carefully anddemonstrate the dance steps with the help of your teacher.Padyak - to stamp or tap with one foot and the weight of the body is on the other footSaludo - it means to bowArms in Lateral Position - both arms are in one side at shoulder level, either right or leftSet - a dance formation of two or more couplesBend - to move the body or part of the body around wideaxisLeap - to spring one foot and land on the other foot203

Study and analyze the following table. The information given will be needed in your dance performance. Stay focus!  Dance Step Music Used No. of counts or Step PatternSlide (glide) 2/4 or 3/4 M per step slide, closeSkip 2/4 or 6/8 1M step and hopBleking 2/4 or 3/4 1 ct. heel-place, closeGallop 2/4 or 6/8 1, 2 or 3 cts. step and cut 1 ct. step, step, step and soMincing 2/4 or 3/4 as many as on requiredParallel Tortillier 2/4, 3/4 or 4/4 as many as pivot and turn heels, pivot required and turn toesPivot Turn 2/4, Step, ball and turn, step, 2M or 4M ball and turn and so on.Touch Step 2/4 or 3/4 Touch , closeChange Step 2/4 or 3/4 1, 2 or 3 cts. Step close Step 1MWaltz turn 2/4 or 3/4 Execute 2 waltz steps toWaltz step 2/4 or 3/4 2M make a turnStamping 2/4 or 3/4 Step R; step L close to R 2M in rear; step R Stamp(R) (L) and close 1M to supporting foot(L) (R)204

Your teacher will guide you in using the following legends in the interpretation and execution of a particular dance step. M = Measure F = Forward B = Backward R = Right L = LeftPART I: WHAT TO KNOWActivity 7: Tell Me! In this part, you will be given basic steps, arm and bodily movements that are used in Binislakan, Sua-Ku-Sua, Sakuting, Pangalay and Tiklos. Identify what is being defined. 1. Both arms are in one side at shoulder level, either right or left. 2. To stamp or tap with one foot and the weight of the body is on the other foot. 3. To spring one foot and land on the other foot. 4. To move the body or part of the body around wide axis. 5. A dance formation of two or more couples. Congratulations for having gone this far! Reaching this part is a clear indication of your willingness to learn more. Now, maximize your potential by memorizing and performing with mastery the basic steps of the regional and national dances. 205

PART II : WHAT TO PROCESS Activity 8: DANCE WITH ME! In this part, you will be given practical applications of the basic steps, arm and bodily movements used in Binislakan, Sakuting, Tiklos, Sua-Ku-Sua and Pangalay. Read the instructions and make sure to follow them correctly.  Look for a partner and execute the rhythmic steps or dance steps that are commonly used in Binislakan, Sakuting, Sua-Ku-Sua, Tiklos and Pangalay.  Out of the dance steps you learned, create dance-step combinations.  The following rubric will be used to evaluate your performance. 206

ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE IN FOLK DANCEWeight Choreography and Execution and Characterization and Artistic Presentation Mastery of Steps Behavior During Performance 40% 30% 30% OUTSTANDING: Performs SKILLFUL: Demonstrates SOPHISTICATED: steps with high level of precise and skillful Demonstrates sophisticated5 mastery while creating execution of the steps characterization and several formations in the with high level of appropriate behavior dance floor confidence towards the dance and groupmates DYNAMIC: Performs steps COMPETENT: EXPRESSIVE: Demonstrates with mastery while creating Demonstrates the steps an atypical level of4 sufficient formations in the competently and with characterization and dance floor confidence appropriate behavior towards the dance and groupmates CREATIVE: Performs steps PRACTITIONER: REALISTIC: Demonstrates with mastery but with Demonstrates general generally acceptable limited yet growing ability level of coordination and characterization and proper to execute them while competence in the behavior towards the dance3 creating formations in the execution of steps with and groupmates dance floor limited but growing confidence FAIR: Performs steps with APPRENTICE: IMPROVING: Displays general mastery but could Demonstrates limited inconsistent2 hardly adapt to varying coordination and characterization and formations in the dance competence in the demonstrates generally floor execution of steps with acceptable behavior low level of confidence towards the dance and groupmates STATIC: Performs steps with NOVICE: Has very low or MECHANICAL: Has little or low or no mastery and is not no coordination in no characterization and1 capable of creating demonstrating steps; has behaves inappropriately formations in the dance very low level or no towards the dance and floor confidence at all groupmates207

In your performance, what grade didyou receive? Are you satisfied withit? If your grade is low, would youwant to improve your performance ifgiven another chance by yourteacher? If you got a high grade inyour performance, wouldn’t you wantto share your expertise to your fellowclassmates who are still novice? Whatdo you think?The next activity will allow you and yourclassmates to do peer-teaching. In here,your teacher will divide your class intotwo which will allow advanced learnersto enrich their mastery and the novicegroPuaprttoIIIr:eWmeHdAiaTteTOtheRirEwFeLaEkCnTesAsNesDbUyNDERSTANDhaving learning in a partner or buddysystem. Which group do you belong? Activity 9: No Man Is An Island! This activity aims to enrich your mastery skills in performing the dance steps correctly while building cooperation and goodwill with your classmates. 1. Group yourselves into two. Group A for those who are familiar with the dance and Group B for those who are still quite unfamilliar with the dance. 2. Those in group B should choose a partner in group A. 3. Your teacher will provide a list of step patterns with a minimal set of combinations and directions for you to execute. 4. Help each other in interpreting correctly the step patterns provided. 5. Your teacher will supervise you as he/she guides you in doing the activity. 6. After the given time alloted by your teacher, a performance assessment will be given. 7. Try to provide feedback on the performance of the other groups.208

How did you feel while doing the activity? If you belong to Group A, what did you feel while teaching your classmates? Does it make you proud having done so? If you belong to Group B, how did you feel while you were being taught by your classmate? Were you a bit embarrassed or intimidated? In life, we need one another. We need to cooperate and help those who are in dire need. Along the way, we also need to seek guidance from people who are knowledgeable on certain issues. Life should be based on a give - take - process. That way, we can create harmonious working relationship in our community. This principle is also applied in the teaching – learning - process of a dance performance. To measure how effective thisactivity is, you will now demonstratemore cooperation and harmony byshowing better performance throughthe next activity. Let’s see if youhave improved.209

PART IV : WHAT TO TRANSFER Activity 10: Watch Me! This activity will help you check your knowledge of the basic rhythm and steppatterns of folk dances. The leaders of the four groups shall draw lots and performwhat is written on the drawn sheet of paper. 1. Perform the dance steps correctly in figures 1 – 3 of Binislakan. (Group A) 2. Execute the dance steps correctly in figures 4-6 of Binislakan. (Group B) 3. Perform the whole dance properly with music accompaniment. (Group C) 4. Make a prelude of the dance Binislakan by presenting a typical scenario of what is commonly seen in a barrio. Storyline should be related to the theme or cultural background of the dance itself.Note to the Learner: (Your teacher may select any of the five dances which will beused in the performance.) How was your dance performance? Do you honestly believe that you performed a lot better this time? May Take note that performing does not only mean dancing gracefully. Proper expressions of the face and body gestures are also important to show the emotions needed in a particular dance. The next activity will teach you the significance of gestures and hand movements in finding the meaning of a certain dance.210

LESSON IV In this lesson you will b able to identify the meaning of the gestures and hand movements of the folk dance given. Hand movements and gestures play a very important role in the whole composition of a performance for they give life and meaning to the whole dance. Just a simple movement of the hand or even a simple body gesture or facial expression shown by the dancer would mean a lot in expressing the thoughts, joy, or sorrow of the one performing. You will discover the hidden meanings of certain gestures and hand movements as you read and interpret the dance literature of folk dances later. In this part, you will be provided with motivating activities that will establish your own understanding of the topic and will lead you to answer queries relative to the performance of regional and national folk dances with Asian influence.Part I : WHAT TO KNOW Activity 11- GRAND TABLEAU This activity aims to activate your creativity in conveying proper emotions and gestures in different situations which will later be needed in the performance of Folk Dances. The following instructions will be facilitated by your teacher. 211

1. Your classmates and you will be grouped into five.2. The leaders of the five groups will be asked to draw lots. Each piece of paper describes one particular scene to be portrayed by the group. For one minute, you and your groupmates will conceptualize a typical scenario given these situations: a. Fishermen pulling up their fishnet from the sea b. Farmers harvesting bountiful grains c. Fiesta celebration of your town d. Wedding ceremony e. A man courting a lady3. After conceptualization, another 10 seconds will be given for your group to act out the scenes that you have planned, exhibiting the proper facial expressions and hand or bodily gestures.4. After the activity, your teacher will discuss on the importance of exhibiting proper expression and gestures in performing activities like dance, music, theater and other performing arts. Part II : WHAT TO PROCESS Did you have fun doing the activity? I guess so. Now, you are tasked to apply these learned skills into the next activity. Applying emotions and gestures to the step patterns that you’ve learned will be more exciting. Good luck! Have fun  Activity 12- IT’S SHOWTIME! This activity aims to amplify your learned skills in expressing proper emotionsin specific situations which are needed in any performance.212

1. With the same grouping, you and your groupmates will be asked to develop a story using the theme you have drawn earlier and perform it through movements. Expressing the right emotions needed in the given situations should be observed. Two to three minutes will be allotted for each group performance.2. Bear in mind that while one group is performing, the other groups will be instructed to note their observations.3. An evaluation on the performances of the five groups will be conducted by you and your groupmates by answering this question, “Which group do you think performed best?” Why do you say so? Part III : WHAT TO REFLECT AND UNDERSTANDSelf- Check: Put a checkmark on the appropriate line.To what extent did you learn the dance in terms of: 1. cultural heritage?___________to a great extent___________to a moderate extent___________to a lesser extent 2. cultural values?____________to a great extent____________to a moderate extent____________to a lesser extent 3. movements?____________to a great extent____________to a moderate extent____________to a lesser extent 4. cultural appreciation?____________to a great extent____________to a moderate extent____________to a lesser extent213

Reflection How is life connected to dancing? Can you explain this? In life, we always aim to be successful. One way to attain our goals is for us to stay focused just like the focus that is needed while learning the steps in dancing. We need to put our heart and mind into the things we do to in order to gain mastery. Through dancing, we may be able to develop health fitness, such as having cardio-vascular endurance, flexibility and strength which are key factors in achieving success.Part IV- WHAT TO TRANSFERActivity 13- CONTEMPLATION!Answer the following questions.  What is the importance of proper expressions in folk dancing?  How are the movements shown in Binislakan, Tiklos, Sakuting, Sua- Ku-Sua and Pangalay reflect the kind of life people have on those places?  Compare the expressions exhibited in the performance of folk dance of Luzon with that of Visayas and Mindanao.214

Congratulations! You’re smart tobe in this level. Check the nextactivity. Try as much as you can tostudy and analyze the step-procedures of the danceliterature. This part requirespatience and understanding foryou to interpret perfectly thedance. Have patience Good luck! LESSON 5 Interpret dance literature of Binislakan, Tiklos, Sua-ku- Sua, Pangalay andSakuting It is very enriching to be able to interpret a dance literature. Since folk dancesare documented, it is always an edge to correctly interpret the text of a danceliterature. Herewith are the dance figures of the four dances. It is hoped that throughthese dances, your ability to interpret dance literatures will lead for you to appreciateother folk dances.Note to the learner: One dance should only be taught by your teacher for the fourthquarter. However if there is still time for you to lear one more dance or all of the fivedances, then that will be a lot better. BINISLAKAN (Lingayen) INTRODUCTIONMusic Introduction Partners face audience. (a) Cross sticks overhead; R-hand stick over L-hand stick and look upward........................................................................................3M (b) Bend trunk forward and bring down point of crossed sticks215

close to floor......................................................................................1M I Music A. Face audience. (a) Starting with R foot, take four change steps sideward right and left alternately, raising alternately the L foot and R foot slightly above the floor;bend trunk sideward right and left alternately. Strike sticks sideward right and left alternately, three times to a measure, R,L,R,L,R,L (cts. 1 and 2) to every measure.....................................................................4M (b) Execute mincing steps sideward right. Strike sticks overhead four times to a Measure, R,L,R,L,R,L alternately. Look upward.......................................................................................2M (c) Bend knees and twist trunk to left; strike sticks backward R,L,R(cts.1 and 2); look backward right..............................................1M (d) Straighten trunk and stamp foot R,L,R (cts. 1 and 2). Strike sticks R, L, R In front of chest.............................................................1M (e) Starting with L foot, repeat (a-d) to opposite direction, stamp feet L,R,L...........................................................................................8M IIMusic B. Face audience. (a) Paw (like scratching foot backward) L foot backward and at the same timeStep R foot sideward four times, step on R foot with springy movementsLike small leap; bend trunk slightly sideward right; R hand bend in frontin level with head, stick pointing toward audience; L hand down in rear, stick pointing sideward left; look at left shoulder (cts. 1,2,1,2)........................................................................................2M (b) Tap L foot in front two times; bend trunk forward that foot and strike sticks twice In front close to the tapping foot (cts. 1,and); straighten trunk and step L close to R foot, strike sticks once in front........................................................................1M (c) Repeat (b) with R foot, bend trunk toward R foot.........................1M (d) Repeat (a-c), in reverse direction and position.............................4M (e) Face partner and repeat (a-d).......................................................8M 216

IIIMusic A. Face audience. (a) Jump forward and bend trunk forward. Cross sticks R stick over L stick Below knee level...............................................1M (b) Straighten trunk and raise gradually the sticks overhead; sticks are still crossed. Look upward.............................................1M (c) Repeat (a) and (b).........................................................................2M (d) Execute mincing steps going backward; arms are in reverse “T” position And shiver sticks sideward. Bend head sideward right and left every two counts......................................2M (e) Execute mincing steps turning right about, finish facing away from audience (1M). Raise R knee and strike sticks once under it (ct.1), straighten knee feet together and strike sticks once in front (ct.and), raise L knee and strike sticks once under it (ct.2).........................................................................2M (f) Repeat (a-d), facing away from audience......................................6M (g) Repeat (e); finish facing audience.................................................2M IVMusic B. Partners face each other. Boy and Girl do their movements simultaneously. Girl’s Movements: (a) Starting with R foot, execute eight change steps going clockwise around Boy. Strike sticks overhead and at the back alternatelythree times toa measure. Strike sticks at the back. Kneel on both knees on the last count.........................................8M (b) Do the movements of Boy below (a-c). Finish facing audience........................................................................................8M Boy’s Movements: (a) Kneel on both knees and strike sticks on the floor at the right side three times (cts. 1, and 2); strike sticks overhead three times upward (1M); strike sticks at the left side on the floor three times (1M); strike sticks overhead three times (1M.................................................................................................4M (b) Repeat (a); stand at the last count.................................................4M (c) Repeat movement of Girl (a). Finish facing audience....................8M217