Creative Industries 2

K to 12 ARTS AND DESIGN TRACK Creative Industries II – Performing Arts RONNIE B. MIRABUENA Mass Training for SH Arts and Design Track May 18-30, 2016

CONTENT DIFFERENT DANCE FORMS IN THE

CONTENT PERFORMA LEARNING STANDAR NCE COMPETEN D STANDARD CIES

Demonstrates knowledge and understanding PHILIPPINES of the 1. Precolonial different Philippine dance forms Dance performed in (Suggested the teaching material: Philippines Pangalay using the Amilbangsa Instruction Method) 2. Regional Philippine Dances 3. Luzon (ilocos): occupational dances such as Dinnaklisan (fishing), Binatbatan (weaving); 4. Visayas

Performs a 5-10 minute dance with wellexecuted dance steps, artistry, proper music and costume

1 identifies the historical background, the traditional dress and music of the dance 2. executes basic stance, forms, positions and contextual meaning of the dance

CODE

21st Century Skills 4 Cs through Dance Education >Creativity and Innovation >Critical Thinking and Problem Solving >Communication >Collaboration

Teaching Strategies >Active learning >Experiential Learning - “learning by Doing” >Contextual Teaching >Inquiry-guided learning >Learner-centered teaching >Discussion strategies >Lecture-Demonstration strategies >Direction Readers Source: Merlot Pedagogy Portal Dance Instructional Strategies Rowan University

Motor Learning Process 1.Perception – attention and observation 2. Execution – replication 3. Feedback – knowledge of results/ performance and additional explanation 4. Repetition – further practice “Watching and doing” should be the main teaching strategy

Source: International Association for Dance Medicine and Science

Activities >Dance Literacy – History and Culture >Dance Literacy – Critical and Creative Thinking >Dance Making – Skills and Techniques >Dance Making – Choreographic Principles and Processes

ABSTRACTION (discussion of content)

“Folk dance refers to the dances created and performed collectively by the ordinary people.” - Corazon G. Inigo -

“Our folk dances are related in origin to everything of importance in our daily lives at a given time on our history stemming from customs, beliefs, emotions, and events related to religion, war, occupation, ceremonies of birth, courtship, marriage, domestic life, rituals and festivals. In his dances, the Filipino reflects his spirit --- his love for merriment, his religiosity, his superstitiousness, his fatalism, his love of ceremony, his joy of living and his love for showing off. “ - SALOD DATUC -

Tinikling - This is the most popular and best known of the Philippine dances and once honored as the Philippine national dance. The dance imitates the movement of the tikling birds as they walk between grass stems, run over tree branches, or dodge bamboo traps set by rice farmers. Dancers imitate the tikling bird's legendary grace and speed by skillfully maneuvering between

Folk dance includes the ff:  dances of ethnolinguistic groups  regional dances  national dances - Corazon G. Inigo -

Pre-colonial Philippine Dance  Ritual dances – connect the material world to the spiritual  life-cycle dances – celebrate an individual's birth, baptism, courtship, wedding, and demise  Occupational dances – transform defense and livelihood activities to celebratort performances Source: CCP Encyclopedia for Dance

Regional Philippine Dances > Mrs. Francisca Reyes Aquino documented ethnic and folk dances > proliferation of regional dances > representative dances from the regions Source: Sarmieto, R.F. (2008). Pantomina, Catandunganon Version: Choreographing Identity and the Politics of Dance in Insular Bikol

FOLK DANCE IN DIFFERENT CONTEXTS  Cultural performances >Dugso >Cañao >Inagta >Buklog  Standardized Folk Dance >codified system >definitive structured forms >development of movement vocabulary  Staged Folk Dance >artistic expression >for aesthetic and entertainment >creative/choreographed folk dance, creative Phil dance, urban katutubo, among others

Cultural performances are characterized as scheduled events, set up and prepared for in advance, temporally and spatially bounded in temporarily or permanently marked-off grounds, and programmed with a structured program of activity. Furthermore, performances are coordinated public occasions, open to view by an audience and to collective participation.

DEVELOPMENT OF PHIL. FOLK DANCE  The

regional and traditional dances in their unchanged forms

The stylization and theatricalization of folk dances  contemporary/modern dance and/or classical ballet forms expressing themes based on traditional or other materials  Contemporary Filipino folk dances, created in the style and manner of traditional, regional folk dances Source: Tuklas Sining: Discovery Through the Arts

“Out of the village, into the schools, onto the theater---and back to the village” Source: Tuklas Sining: Discovery Through the Arts

“To dance is human and humanity almost universally expresses itself in dance.” Hannah (1987) “Dance is cultural behavior in that a people’s values, attitudes, and beliefs partially determine the conceptualization of dance as well as its physical production, style, structure, content, and performance .” - Ferraro (2008)

– SUGGESTED

ACTIVITIES

Dance Literacy – History and Culture

Culture Mapping – a process of collecting, recording, analyzing, and synthesizing information in order to describe the cultural resources, networks, links and patterns of usage of a given community or group.

Dance Literacy – History and Culture 1. Let the students do a culture mapping exercise focusing on the ff: a. indigenous groups b. ethnic dances c. musical instruments d. costume and accessories 2. Facilitate an interactive discussion based on the given exercise. This will allow students to have a wider idea on the cultural background by identifying

STRATEGY: Inquiryguided learning

Dance Making – Skills and Techniques Let the students explore movement possibilities by using some of the basic steps, arm/hand movements, and positions found in the ethnic dance in their area. A lecture-demonstration can be provided via an instructional video to facilitate a better learning environment among the students.

Characteristics of Cordillera Dances  arm/hand positions and gestures are portrayal of the vast geographical location.  imitation of the movements of the bird.  most steps and movements go downward to express affinity with the closeness to earth.

FAITH IN GOD

Bahala na – literally means “come what may or let it be.”  comes from the word BATHALA, an ancient Tagalog word referring to the God who created and sustains everyone and everything.

STRATEGY: LectureDemonstration

Weight

Performance 40%

Mastery and Execution of Steps 30%

Characterization and behavior during performance 30%

5

Outstanding

Skillful

Sophisticated

4

Dynamic

Competent

Expressive

3

Creative

Practitioner

Realistic

2

Fair

Apprentice

Improving

1

Static

Novice

Mechanical

Rubric for Dance Performance

Dance Making – Skills and Techniques 1. Show to the class the instructional video with a demonstration on the correct execution of the fundamental positions of feet and arms 2. Point out that correct knowledge and execution of the fundamental positions are important to the skill and technique development in folk dance Source: Instructional video on ASEAN Traditional Dance: Philippines

Dance Literacy – Creative and Critical Thinking Features

Jota

Pandanggo

Nature

Props/Dance Properties Time Measure

Music Length

Classification of Western-Influenced Dance Forms and its Salient Features

Paseo

STRATEGY: Critical Thinking

- END – MARAMING SALAMAT!