According to the study of Dance is the combination of movement and

experiences along with youth outreach are the corner stone’s of life and art (Steele, 2010). She
strongly believes that dance is a form of visual and oral history. It tells a story; of how it is, how
it was and how we wish the world to be.

Dance and arts frequently work as a barometer, showing us where we stand as a society.
It can show us the worst an individual or people can offer like prejudice, intolerance and
genocide on the best that those some can offer such as tolerance, love, acceptance and the
willingness to help regardless of the risk to self. (Reddick, 2005).

Dance is an intellectual, physical and sensorial response to the experiences of the world.
Bannon (2010), argues that the integration of our physical, intellectual, and emotional selves that
can occur in learning in dance has been advocated by many theorist as essential to understanding
the holistic benefits of education in and through dance. Dancing can teach children to dwell their
own body and find out the untapped potential, heightening the self awareness.

Dance as an art (Lopez, et al, 2006), is one of the durable strands interwoven into our
people to form the fabric of culture. Dance has existed since man came into being similarly,
LACIA, et al (2013), describe dance as an identifying mark of one’s local culture and tradition. It
helps in understanding certain communities, their folkways, the way they live their lives during
the early years and how they preserve it to the present era.

One of the features of dance as a performing art that has been often noted is that it moves
and it changes, both during the course of any given performance and over time. According to
Kahlich (2013), young people continue to find ways to rebel and express themselves through
dance. As generations age, modern, street and square dance offer ways to remain physically
active and continue social interaction.

Section 14, Article XIV of the 1987 Constitution states that “The state shall foster the
preservation, enrichment and dynamic evolution of a Filipino national culture” section 15
provides “The state shall conserve, promote and popularized The nations’ historical and cultural
heritage and resources as well as artistic creation.”
This was supported by the National Commission for Culture and the Arts (NCCA) which
envision the Filipino culture as the well spring of national and global well-being. Its mission is to
develop and promote the Filipino culture and arts, and to preserve cultural heritage. One of its
mandates is to preserve and integrate traditional culture and its various creative expressions as a
dynamic part of the national cultural mainstream. The National Cultural Heritage Act of 2009
(RA 10066) mandate the Department of Education with NCCA’s Philippine Cultural Program to
formulate the cultural heritage education program both local and overseas Filipino to be
incorporated in the formal, alternative, and informal education, with emphasis on the protection,
conservation and preservation of cultural heritage properties” (Art. X, Sec.38)

As stated in the K to 12 curriculum guide for Physical Education, “the students must demonstrate
understanding of regional and Philippine National Dances...” In view of this, Philippine Folk
Dance has been taught and presented in schools particularly as part of Physical Education in
elementary and high school. The dance strand of the Physical Education school curriculum
document lays down recommendations relating to the desirability of including folk dance
schools.

In the article written by Weikart and Bryant (2013) about Developing Skills in Folk
Dance, they stated that developing skills in Folk Dance will enable students to: provide the
opportunity for students to refine steady beat and coordination; encourage students’ sequential
thinking; improve students’ attending and focus; help students develop the language link between
thinking and doing; create opportunities for positive social interaction among classmates;
identify curriculum concepts embedded in folk dances.

As to Youngerman (2000), she stated that because folk dancing is found all over the
world, and because it can be broadly defined, it occurs with great variations in style and with
many different floor patterns. Furthermore, one of the great values of teaching young children
folk dances is exposing them to the rich diversity of national, ethnic, and regional music (wardle,
2013).
Students learn at various rates and in different ways according to their intellectual ability,
educational level, personality and cognitive learning styles also known as individual differences.
Remember that learners average attention span of a passive listener is about fifteen minutes only.
And in the actual learning process students gradually transfer bits of information from short-term
into long- term memory, a process that takes time and usually requires repetition of the material
(Campus Instructional Consulting, Indiana University Bloomington, 2001)

According to McCombs and Miller (2007) learners have different strategies, approaches,
and capabilities for learning that are function of prior experience and heredity. Individuals are
born with and develop their own capabilities and talents. In addition, through learning and social
acculturation, they have acquired their own preferences for how they like to learn and the pace at
which they learn. The interaction between learners’ differences and circular and environment
conditions is another key factor affecting learning outcomes. Learners need to be sensitive to
individual differences, in general.
 Hopkins (2009) enumerated four stable differences among learners’ and their relevance to
instructional design. The stable differences are on the following aspects; intelligence quotient,
cognitive style, psychosocial traits and gender, ethnicity and racial group.

The Importance of Values

Louis E. Raths defines value as a “a belief, attitude, purpose, feeling, or goal that is (1) prized,
(2) chosen after careful consideration of alternatives, (3) affirmed upon challenge, (4) recurring
and penetrates into life” (Raths, 1966). In the words of McDonald (1959) a value is “a preference
based upon a conception of what is desirable.” Values, like attitudes, are orientation processes by
which the person is prepared to respond to his environment. Values, also, are states of readiness,
or predispositions to act and to be motivated in specific kinds of ways.

Attitudes and values are alike in that both represent preferences of the person; however,
values are preferences based upon conceptions of what is desirable, whereas attitudes need not
be words as “like” and “dislike”.

Values are reflected in such words as “good” and “bad”. A child may say, for example, that he
likes swimming and thinks that stealing is wrong. In the first case he is expressing a preference
which may not reflect any conception of the rightness or wrongness of his preference. In the
second case he has indicated his conception of desirability may be unrelated to personal
preferences. Values, like attitudes, have an intensity factor, and an individual may feel more or
less strongly about a particular value that he holds. One child may be cognitively aware that
stealing is wrong and hold this preposition as a value. Another child may have the same value but
feel very strongly about the “badness” of stealing.
According to.......

Folk dancing is a big factor in the total development of a person. It is not only a dance
accompanied by native music. It is not only a dance accompanied by native music. It is an
activity where students can express their emotions, or feelings and communicate these to society.
Folk dancing makes a man healthy and alert. True indeed that folk dancing is responsible in the
development of the physical, mental, emotional and social power of men.

Major Aspects of Personality that Folk dancing developed in students: Physical aspect,
Folk dancing is not only a movement of the body in the accompaniment of music, it also
exercises the body where the students learn correct posture, develops a pleasing personality, and
makes the students healthy and alert. Emotional aspect, folk dancing awakes the finer nature of a
man with the two aspects; Folk dancing inspires us and makes us appreciate the varieties of
nature and; develops patriotism having the same mean. Mental aspect, Folk dancing leads us to
righteousness and better citizenry, builds self- discipline, develops time management, and
creativity. It is responsible for the development of the mind. As can be concluded, folk dancing
serves as a way to develop a wholesome personality. Social aspect, through folk dancing we get a
better understanding of our cultural heritage, the finer and noble sentiments of our race; Folk
dancing develops cooperation; It provides a common bond of friendliness and national
understanding among the people; Folk dancing is a factor in maintaining peace in our country;
Folk dancing makes us good leaders as well as good followers; and Folk dancing helps to unify
the people who realize their common interests, goals and historical resources.

JOURNALS

VALUES FORMATION, A KEY FOR EFFECTIVE EDUCATION

- Theresa O. Balance

- D. Albonia Elementary School Jose Panganiban West District

Developing a right attitude among our students towards their studies needs a lot of wisdom from
us as teachers. But who are in charge and the prime people responsible for such development?
Social development among learners is one of our roles which we should give enough time to
master. And so, are we aware of the different agents of socialization?

A family is the smallest institution that builds and nurtures the personality of a child. This
means that the values and beliefs actually start at home. His attitude towards his studies begins at
early age. How parents inculcate the importance of such in every individual and how they
motivate their child on the significance of being true to it affects his thought on the worth of
going to school. We are all aware by experience that students who have the moral support of their
guardians excel in class. If schooling ends in failure on the part of child, difficulties will rise as
he goes out of his shelter and steps onto another stage of his life – going out of school.

School is the next home for pupil’s education. We rabbis are called to serve as “loco
parentis” – parents who are expected to guide, meld and help our children to have good values in
life. Being in school, first and foremost, our role is to train them in the proper habits towards
education. It is education that will help them to be assets as future generations that will lead our
society. Integration of values education in every subject is a requirement for every lesson. It is
also stated as one of the three domains of the objective. It is part of learning every pupil must
learn and apply in his life. But a greater learning comes if it is modelled correctly by us teachers.
We are expected to teach the best we can so that our pupils will grasp every idea and skill they
have to know.

What will you expect if the student’s hope for better education will not be met at school? If
lessons are like something they have to ignore because they are not well presented? And so,
proper motivation on
RELATED LITERATURE (FOLK DANCING)

FOLK DANCING IN EDUCATION

It was recognized centuries ago that dancing in its many forms had much to offer in the
upbringing of youth. John Locke wrote:

. . . since nothing appears to me to give children so much becoming confidence and behaviour,
and so to raise them to the conversation of those above their age, as dancing, I think they should
be taught to dance as soon as they are capable of it. John Locke, Some Thoughts Concerning
Education. London, W. Baynes, 1800.p.60.

Charles W. Eliot, President of Harvard University during the latter part of the nineteenth
century wrote in a letter to Charles Francis Adams:

I have often said that I were compelled to have one required subject in Harvard College, I would
make it dancing if I could. West Point has been very wise in this respect. . .

In 1904, Dr. Luther Halsey Gulick, a pioneer in the field of American physical education, wrote
appreciatively of the desirable effects of folk dancing:

There is slowly but surely coming into our secondary schools and college recognition of dancing
as a bodily discipline. I refer . . . to the old folk dancing. . . . It is excellent and will enrich the
physical training program.

A great contribution to the growth of folk dancing in America’s schools was made by
Elizabeth Burchenal, founder and first president of the American Folk Dance Society. She wrote
several books, did original dance research in many countries, established folk dance playground
programs and taught many leaders over a period of several decades. Louis Chalif, founder of the
Chalif Russian Normal School of Dancing in New York in 1907, also published widely and
organized many courses, institutes, festivals, and folk dance, pageants. Others, such as Mary
Wood Hinman of Chicago and Sarah Gertrude Knott, director of the annual Folk Festival in St.
Louis, stimulated educational interest in folk dancing.

Just what are the important values that folk dancing brings to its participants? They may
be described in four categories: physical, social, cultural, and recreational.

Physical Values. As a vigorous activity which makes use of a wide variety of body
movements, folk dancing contributes to the learning of motor skills the development of a strong
sense of rhythm and spatial relationships, also the improvement of strength, agility, balanceand
endurance.

Social Values. The school or college student who participates in folk dancing learns to
cooperate with other members of his group and to accept responsibility for playing his part in the
group situation. Through dancing together, children and young people learn consideration for
each other and a code of social behaviour.

Folk dancing helps to provide this, without any of the overtones of “teen-age rebellion” or sex
attraction that are found in the double-entendre lyrics and sophisticated themes of “rock-and-
roll” or other forms of ballroom dance music.

Through folk dancing, it is possible for the child to gain a strong sense of “belonging”, a feeling
of personal worth and achievement, and the knowledge that he is contributing to the pleasure and
welfare of others. And, when the group plans a special project, trip, festival, or demonstration,
the values of team cooperation become even more pronounced!

Cultural Values. Folk dancing is only the silhouette; only the study of movement. To
others, the study of folk dancing is a vivid picture of national life with colourful, fanciful
background of folk costume, custom, art, music and legend.

In summary then, the following might be listed as major folk dance values:

1. To develop desirable social attitudes through participation in once activity.

2. To develop understanding and respect for one’s own culture, ethnic heritage, and for that of
other people.
3. To promote the most efficient use of the body, including speed, agility, balance, endurance,
and grace.

4. To develop an appreciation.

5. To have fun.

Folk Dancing vs. Round Dancing

Proponents of each form of dance have criticized the dances done by the others and claimed
superiority for their own type. This is unfortunate, for each kind of dance has its own appealing
qualities.

The folk dances tend to be more physically quiter and employ a limited number of basic
steps, although many of them are quite simple. They are especially suitable for people who have
an interest in intercultural activities and the folk arts, and for single individuals who lack regular
partners to dance with.

The important point is that, just as there are different kinds of recreational dance, there is
a public ready to participate in each kind. While they are not particularly compatible in mood and
style, and are not usually done together, folk and round dancing are sometimes successfully
combined on single dance programs. But the real dance enthusiast usually prefers a heavy
emphasis on his favourite kind of dancing, which is only reasonable.

In most present day square dance clubs, the couple dances done during the evening are
round dances. In school and college physical education programs, folk dancing is the more
widely-found activity.

FOSTERING PERSONAL DEVELOPMENT

Fostering personal development involves dance education classroom exercises designed to

promote values, self- expression, and self- esteem. Education practices also provide a family
substitute, supportive sanctuary, and sense of community for youngsters from poorly functioning
homes and neighbourhoods.

VALUES

Students’ sense of values surfaces when educators encourage students to view dances and reflect
on the principles they identify in the work (see Hodes 1995). Many aspects of dance are
transmitted from one generation to the next. Consequently, dance is a repository of values and a
telling imprint of civilization.

Students in the Arts Connection Young Talent Dance Program take field trips to see
professional dance concerts. Afterward they discuss what values they think the performers
conveyed and how they affect the individual creator and observer. According to Thomas Pilecki,
former principal of St. Augustine School of the Arts, located in the Bronx., teachers promote an
awareness of the communication of such values to help students cultivate inner strength with
which to with stand outer negative peer group groups pressures.

SELF- EXPRESSION
To promote self- expression and thereby gain insight, educators ask students to communicate
feelings, thoughts, and ideas through dance. By projecting their problems in dance, children may
work through some difficulties in their lives that impede their success in school. Distancing
oneself or holding up a conflict to scrutiny through srtistic self- expression allows the dance
marker to evaluate problem and work.

SELF-ESTEEM

Youngsters can improve their self-esteem through dance by working on acceptance and
appreciation of their bodies, feeling the kinaesthetic joy of movement, making physical fitness a
part of their lives, and feeling a sense of self- empowerment and the satisfaction that comes with
achievement. (See Bandura 1997; Baumeister 1996; and Smelser 1989 on misconceptions about
self-esteem.) The achievement comes through the mind-body integration of dance making
choreographed the musical “Kismet” with Indian influences.

WHAT ARE THE VALUES OF CULTURAL DIVERSITY IN DANCE EDUCATION?

The reasons for looking at other cultures’ dances are multifold (see Banks 1997). Although dance
is not a universal language, each individual has a body that moves; we can identify with other
cultural groups through the shared experience of the human body in motion. Cross- cultural
understanding depends on the interplay between skilled performance and an observer’s sensitive
perception in feeling movement and interpreting it.

To learn the dances of many people’s been, for Ted Shawn, to learn to love themselves.
Diversity has created what is considered American dance and what is now part of the search for
parity in this culture. U.S. society is becoming more diverse demographically than ever before.
Moreover, as the world continues to shrink and homogenize with technological advances,
exchanges among dance communities and peoples increase.
UNDERSTANDING OTHERS

Dance is a particularly vibrant means through which to begin to understand a different culture;
dance enables one to learn much about the dance’s creators, producers, and audiences (Ijaz
1980). Dance like language, is a window to a person’s worldview. Exposure to a various
aesthetics and their socio cultural contexts and history allows a person to see and understand
more than her or his own footsteps. Diverse cultures have unique and meaningful ways of
expressing universal themes.

UNDERSTANDING ONE’S SELF

By looking ourselves in our infinite human variety, we can better understand our own forms of
dance and gain a deeper self-knowledge. Learning about one’s own culture usually provides a
sense of identity, roots, and self- understanding (Cunningham 1991; Hanna 1997d).

The path to self-understanding includes learning about our own culture-bound

assumptions about dance.

OTHER BENEFITS

Experiencing similarities and differences in dance modes of expression may help an individual to
become more skilful and comfortable interacting with members of diverse groups at work and at
play. Learning about other cultures can stretch the mind and help dissolve prejudice.

In addition, exposure to other cultures gets people out of their own frameworks,
stimulates curiosity, and develops imagination. Awareness of alternatives and borrowing can
stimulate cutting edge critical thought, a key element in sound decision making in a competitive
world economy.
LOCALIZATION

One of the main features of the K to 12 is the delivery of the lessons through
Localization. This curriculum framework highlights the fundamental importance of context in
shaping the curriculum, and consequently, the teaching- learning process. K to 12 also K-12 is an
educational system under the Department of Education that aims to enhance learner’s academic
skills and technical competencies, produce more competent citizens, and prepares graduates for
lifelong learning and employment. The goal of K-12 is to create a functional basic education
system which will produce responsible and productive graduates equipped with essential
competencies and skills. (Beltran, 2011).

The country did not meet the international standard in student learning achievement.
Philippine has a poor quality education because instead of having a 12-year curriculum we are
still using a 10-year curriculum (Poliquit, 2011).

Obviously alarming is the information that the graduates of an old curriculum are
experiencing hard to e accepted as professionals in abroad. Because the Philippines is the only
country in Asia adopting the 10 years of basic education where the global standard is 12 years
basic education; and addition, most of the graduates from the old curriculum are under to the
legal age of 18 and not as emotionally prepared for employment higher education, and
entrepreneurship (Poliquit, 2011).

Localization will provide depth understanding of the lesson, therefore, the achievement
of the students is evident.

The content of the lesson using localization adopts the students’ prior knowledge and
connects it to the new one allowing them to recall idea and process easily. Its main purpose is to
bring the lesson closer to the students and links in into global scenario. (Perin, 2011).

Bringas, H.A. (2014) stated that, to localize, teacher use authentic materials, activities,
interests, issues, and needs from learners’ lives. He/ she should create room for students to pose
problems and issues and develop strategies together for addressing them.

The localized curriculum is based on local needs and relevance for the learners where there are
flexibility and creativity in the lessons. Bringas, H.A. (2014) gives important reminders on
localization; it can be done in all learning areas; localization maximizes materials, activities,
events, and issues that are readily available in the local environment; to localize, teachers must
use authentic materials, and anchor teaching in the context of learner’s lives. According to
Mouraz, A., and Leite, C. (2013), localization is a prerequisite in addressing the content and
organization of activities to be undertaken in the classroom. Student’s engagement in their school
work increases significantly when they are taught, why they are learning the concepts and how
those concepts can be used in real-world context.

Pecson (2014) believed that localization adhere to make the lesson flexible, fit, creative,
relevant, meaningful, and adaptive to the learners’ level of understanding and instructional needs.
The concept of localization falls on the idea that student learns best when experiences inside the
classroom have meanings and relevance to their living.

Taylor, A. And Mulhall, p. (1997) also suggested that localization of teaching and
learning can strengthen the links between the learning environment of the school, home and
community. This can be achieved by building on pupils’ experiences from outside the school and
providing additional experiences within the school program, this will allows learners also to
integrate their own learning experiences.

According to UNESCO (2004), a key factor driving the localization of school curricula
and the localization of schooling content is the cultural and linguistic diversity of many nations.
This diversity must be taken into account when designing school lessons, both in terms of local
relevance and in terms of linguistic delivery, to create the vital links previously mentioned
between learners and materials. This local delivery must be associated with the natural
environment, social environment, as well as the cultural and environmental needs of the regions.

Piaget pointed out that students can solve any problem when the sample is in the real
object rather than illustration or verbal examples. Authentic objects can be easily examined
according to its characteristics. Using not concrete objects will result in disinterest of the
students. It is more relaxing in learning process if the student can manipulate the object and as a
result, they will find out easy to create ideas and thought using authentic objects. This related to
the study whereas using authentic and real objects is the center of localization.
THE PSYCHOLOGICAL PROCESS OF VALUES FORMATION

Jaime C. Bulatao, S.J.

“Value” is an interesting concept. Money has value because it can be exchanged for a variety of
goods. Money can change in value and can even be said to float. The paper or metal it is made of
has little or no value, but value is attributed to money by people. Shoes, clothes, cars also have
value, and their value also changes in correlation with how desirable they become in a given
situation, the desirability itself varying according to circumstances like rarity of supply. In all of
these objects, value is not seen as the object itself but it is something added to the object by the
mind. Whatever is deemed by the mind as a goal worth striving for is given value. Value,
goods,good. Value is what is experienced as good.

Not goods alone, but even people differ in value, family members being typically more
valuable than strangers. Thus, value is something subjective. What is experienced as good by one
is not necessarily so experienced by another. The same will hold true for the more abstract goods
of life: art, science, politics, freedom, popularity, and so on, are experienced by some as
important, but not so experienced by others. What is the psychological process by which a person
learns to value one more than the other?

Research is going on today for a better understanding of the process of values formation.
It has become clear that one does not teach values like honesty, truthfulness, generosity, marital
fidelity, and so on, in the same way that one teaches objective things like arithmetic or
geography. Some even wonder if values can be taught at all and advocate instead a process of
values clarification. What we seem to be looking for at the moment is a way of thinking about
values formation, a conceptual model that can help us understand this process, whether or not we
can do anything to modify or guide the process. The purpose of this is to recall the contributions
of two great schools of psychological thought of this century, the Freudian and Behaviorist, and
to propose a synthesis that may help the process of values learning a bit more than realistically.

Values are not taught by propaganda or by reasoning: most people argue that discipline is
good, that war is hell, that violence in the streets is undesirable. But such arguments do not
necessarily curtail aggression. Values are not taught directly, the way behaviour is taught. Values
are not necessarily taught by punishment to make a child “think twice.” In fact, some research
indicates that parents who use severe punishment tend to produce children who are extremely
aggressive. The simple Stimulus-Response theory of the behaviourist does not seem to fit here.

But interestingly enough, if the punishment comes from an adult who previously treated his
children as warm, nurturing parent, the children tend to comply even in the parent’s absence?
What becomes effective, then, for values formation is not the punishment, which can have
opposite effects, but the inner love and integrity of the parent. The simple Stimulus- Response
theory does not work.

At this point, it becomes important to make a distinction between teaching ideology and
forming values. You really cannot teach values. Better perhaps to say, we form values rather than
teach them. But you can teach ideology directly. You can even give an exam on ideology and
measure the amount or learning the student has acquired, but the trouble is --- ideology without
values is like an engine without gasoline.

- MINDY L. LEVINE (1994: I I)

Dance is an art form that links mind and body in a society that tends to view the body
with distrust; an art form that celebrates process in a society that values product; an art
form that in its person-to-person transmission serves as a kind of “cultural DNA,”
particularly for groups who historically have been denied access to political power; an art
 form that empowers women in a society that tends to diminish the value of “women’s
work,” and finally, an art form that affirms the essential function of kinesthetic
intelligence in a culture that tends to measure knowledge in words and numbers.

- MARTHA MYERS

Dance is about life, creativity, people, and being flexible, open to change, and having
experience in decision- making.

THE “WHAT” and “WHY” OF FOLK DANCING

JUST WHAT IS folk dancing – and why is it such an important and enjoyable part of school and
physical education and community recreation programs?

The term is generally used to describe the traditional recreational dance forms of the
common people. Most folk dances are of anonymous origin and have been handed down from
generation to generation over a considerable period of time. Centuries ago, they were closely
related to the customs, rituals and occupations of the people who performed them, today;
however most folk dances have lost these associations and are performed primarily – in the
United States, at least – for social and recreational reasons. Fortunately, the folk backgrounds of
many dances are still known and provide a fascinating storehouse of information about the
people who originated them.

No matter what words we use to describe it, folk dancing is a unique and valuable form
of group activity. It contributes greatly to intercultural understanding, social adjustment, and
physical well-being, and it is not surprising that it has become an important part of the physical
education and recreation program in schools, colleges, and communities.

FOLK FESTIVALS AND SPECIAL EVENTS

THERE ARE MANY different types of folk dance. Some may be very small, carried on
by a single club or department within a school or college. Others may involve the cooperative
effort of several schools, classes or ethnic groups within a community. Some folk dances are
regional, others state-wide and a few national in scope. A folk dance may be presented indoors or
outdoors and may be a “single-shot” event or one that is repeated each year at the same time. It
may consist solely of folk dance exhibitions, or may include mass participation in dancing as
well – and may also include folk music and various kinds of pageantry and dramatic
presentations.

Whatever its specific form, a folk dance has the following purposes:

1. It is an excellent way to build the interest of participants in folk dance classes or

groups, and encouraging them to develop outstanding performance. It provides an exciting goal
to shoot at and is in itself a highlight of any folk dance experience.
 2. A folk dance serves as effective public relations, both for the sponsoring organization
or group, and for folk dancing in general. In a school, it helps to interpret this area of the physical
education or community recreation groups; it serves to arouse interest in folk dancing and invites
new participation.

3. A third important aspect is that folk dance offers an excellent means of achieving
intercultural understanding. It brings forth all the most interesting and attractive elements of
national and ethnic folklore and thus helps its participants and spectators achieve greater
understanding and friendship.

4. A fourth purpose of folk dance in schools is that they serve to bring different classes or
departments into closer unity, when they are called upon to work on common projects of this
kind.

Folk dancing is a wholesome form of entertainment, enjoyed by children and adults

whether participants or spectators. It is simple, inexpensive recreation.

For centuries, singing and dancing have been the principal pastimes of our people. At
social gatherings, our forefathers danced and sang spontaneously – often for several days, as in
wedding celebrations, “velaciion” or “parasal,” and “pabasa.”

Our country is rich in materials in this phase of the arts. We have dances and songs for all
occasions – weddings, christenings, “fiestas” in tow or “barrio” (village), religious ceremonies
and celebrations, war and victory dances of the non- Christian tribes, occupational songs and
dances (pounding, harvesting, planting, fishing, digging, rowing, and tuba gathering, etc.),
torture dances of the Negritos, funerals, and courtships. Many of these may still be seen in
remote sections of the Islands where modern civilization has not yet penetrated.

In 1924 the author started the collection of folk dances, songs, and games. A part of the
material gathered from 1924 to 1926 was used in a Master’s thesis which was later revised and
published in book form as Philippine Folk Dances and Games. For several years further research
was officialy conducted by Lt. Antonio Buenaventura, the late Ramon P. Tolentino, Jr., and the
author under the auspices of the President’s Committee on Folk Songs and Dances, University of
the Philippines. Costumes, music, and musical instruments were collected as well as songs and
dances.

People used to say that there was nothing unique in Philippine dances. To them, all the
dances were alike – long, monotonous, and boring rather than entertaining. Uniformed people
thought that we had no dances other than the much over danced: “ Carinosa,” “Surtido,”
“Pandango,” our folk dances has been noticeably corrected since the University of the
Philippines and the Bureau of Education took up the task of reviving our varied and almost
unknown dances and songs.

These were collected directly from the old people in out-of-the-way regions who had
performed them in their younger days and from the students or trainees who came from remote
places where such dances are still kept alive and practiced.

Folk dances are no longer a mere fad in our country. In fact, their now considered an
invaluable addition to physical education work in schools. Philippine folk dance exhibitions and
competitions are having part of the school activities. When visiting, foreigners are entertained
songs and dances form a major part of the program. There has been eager and appreciative
response as is shown by the requested organizations for exhibitions of and lectures on Philippine
folk dance. Folk dancing awakens in us a sense of national pride.

Many of our so-called native dances are of Spanish origin. Other show French, English,
and Malayan influenced. Nevertheless, forefathers have performed them for so long, giving them
an interpretation, execution, and expression, that they have become traditionally Filipino.

The dances included in this book have been tested by the students of the University of the
Philippines and by public school children. They were transcribed as authentically as possible
without loss of distinctive qualities, local colour, or native form. Oftentimes, however, it has
been desirables rearrange, cut, or add to some of the dances so that they could be presented more
interestingly and effectively. Their peculiar formation, individual qualities, and distinctive
movements have been preserved as they were found.
 RESEARCH PARADIGM

This study was guided by this conceptual model, which is shown in figure 1 in a form of
paradigm. The paradigm different factors to describe the parameters of the study.

INDEPENDENT VARIABLE DEPENDENT VARIABLE

FEATURE OF ATIMONAN FOLK DANCES VALUES FORMATION

Process of Folk Dances:

- Historical Background 1. Aesthetic

- Classification of the Dances 2. Morality

- Costume 3. Love for cultural heritage

- Music used and time signature/ 4. Proper Decorum

tempo
5. Patriotism
- Dance steps and arm positions
6. Development of Creativity
- Traits
7. Reflective Thinking
- Customs

- Traditions
STATEMENT OF THE PROBLEM

This study aims to determine Folk Dancing as an effective medium to students’ values
formation in terms of Aesthetic, Morality, Love for cultural heritage, Proper Decorum,
Patriotism, Development of Creativity, and Reflective Thinking.

Specifically, it seeks to answer the following questions:

1. What is the respondents profile in terms of :

1.1 Age;

1.2 Gender and

1.3 Interest?

2. What is the students’ perception of Folk Dancing in terms of:

2.1 Historical Background;

2.2 Classification of the Dances;

2.3 Costume;

2.4 Music used and time signature/ tempo;

2.5 Dance steps and arm positions;

2.6 Traits;

2.7 Customs and

2.8 Traditions?

3. What is the effect of Folk Dancing to students’ values formation in terms of:

3.1 Aesthetic

3.2 Morality
 3.3 Love for cultural heritage

3.4 Proper Decorum

3.5 Patriotism

3.6 Development of Creativity

3.7 Reflective Thinking

4. Is Folk Dancing has a significant relationship to students’ values Formation.

Hypothesis

1. There is no significant relationship between a Folk Dancing and Students’ Values

Formation.
Definition of Terms

Aesthetic – concerned with beauty or the appreciation of beauty; a set of principles underlying
and guiding the work of a particular artist or artistic movement.

Background – the area or scenery behind the main object of contemplation, especially when
perceived as a framework for it.

Classification – the action or process of classifying something according to shared qualities or

characteristics.

Costume – a set of clothes in a style typical of a particular country or historical period.

Creativity – the use of imagination or original ideas, especially in the production of an artistic
work.

Customs – a way of behaving or a belief that has been established for a long time among a group
of people

Dance – the movement of the body in a rhythmic way, usually to music and within a given
space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking
delight in the movement itself.

Decorum/ proper decorum – behaviour in keeping with good taste and propriety.

Feature – a distinctive attribute or aspect of something.

Folk – originating or traditional with the common people of a country or region and typically
reflecting their lifestyle; of or relating to the common people or to the study of the common
people folk sociology.

Folk Dance – a popular dance, considered as part of the tradition or custom of a particular
people.

Formation – the action of forming or process of being formed; development, evolution, shaping,
generation
Heritage – features belonging to the culture of a particular society, such as traditions, languages,
or buildings, which come from the past and are still important; property that is or may be
inherited; an inheritance.

Historical – of or concerning history; concerning past events; belonging to the past, not the
present.

Localization – the process of making something local in character or restricting it to a particular

place; the process of adapting a product or service to a particular language, culture and desired
local “look-and-feel.”

Love – an intense feeling of deep affection; a great interest and pleasure in something.

Medium – an agency or means of doing something.

Morality – principles concerning the distinction between right and wrong or good and bad
behaviour; a particular system of values and principles of conduct, especially one held by a
specified person or society.

Patriotism – the quality of being patriotic; devotion to and vigorous support for one’s country.

Position /Arm position – a place where someone or something is located or has been put.

Reflective – providing a reflection; capable of reflecting light or other radiation.

Steps – an act or movement of putting one leg in front of the other in walking or running.

Tempo – the speed at which a passage of music is or should be played.

Thinking – the process of using one’s mind to consider or reason about something.

Time signature – an indication of rhythm following a clef, generally expressed as a fraction

with the denominator defining the beat as a division of a whole note and the numerator giving
the number of beats in each bar.

Tradition – the transmission of customs or beliefs from generation to generation, or the fact of
being passed on in this way.
Trait – a distinguishing quality or characteristic, typically one belonging to a person.

Values – the regard that something is held to deserve; the importance, worth, or usefulness of
something.
 Chapter 3

RESEARCH METHODOLOGY

This chapter includes research design, respondents of the study, sampling

technique, research instrument, research procedure and statistical treatment of data.

RESEARCH DESIGN

The descriptive type of research will be used by the researcher. Data will be
gathered through adapted and self-made validated questionnaires in a form of checklist using
Like-it scale. The researcher evaluated the answers of the respondents that serve as a basis
having the solution in the said problem.

Descriptive research will be employed- interview, observation, dance notation

and documentary evidence were techniques use to gather, analyze and interpret data.

RESPONDENTS OF THE STUDY

The study conducted in on the Junior high school; Atimonan National

Comprehensive High School in the Atimonan I district for the school year 2019-2020, the
researcher used the selected grade 7 students, also the selected MAPEH Teachers, and
Atimonanin folks with knowledge about music and dances of Atimonan.
Table 1. Distribution of the Respondents of the Study.

Table 1. Shows the list of respondents available in Atimonan, Quezon and the
list of the number of respondents.

Number of Respondents

Atimonanin Folk

Music 1

Dance 3

MAPEH Teachers 10

Grade 7 students 50

Total Number of Respondents 64

Of the number of Respondents.

Population and Sampling Technique

The researcher is a resident of Atimonan, Quezon and was a teacher of Atimonan National

Comprehensive High School; she decided to conduct her investigation with the Grade 7 students

in the same school, who were enrolled during the school year 2019-2020. Also, the selected

MAPEH Teachers of ANCHS Atimonan, Quezon. Lastly, Atimonan Folks who were

knowledgable in terms of music and dance.

Research Procedure

In collecting the documents the researcher secured permission from the Division
Schools Superintendent of Quezon Province. Then, letters were presented to the District
Supervisor of Atimonan I (East District), Atimonan National Comprehensive High School’s
Principal, MAPEH Department Coordinator and teachers of the concerned school and students to
request their permission and participation of the study.

The distribution of the instruments to the respondents followed the letter been
signed. The researcher personally handed the instrument and retrieved after few weeks. The
researcher even sought help and assistance from friends and co-teachers for the faster retrieval of
the instrument. Encoding, validation, and statistical treatment of the gathered data were also part
of the research procedure.

Research Instrument

The instrument which will be used in gathering the data such as interview,
observation, demonstration and documentary evidences about the historical and geographical
background of the town and the cultural traits of the Atimonan from documentary books, pictures
and other printed materials.

The interview will be focused on the historical background, classification,

costume, the time signature/ tempo, steps/ arms positions, traits, customs and traditions by an
oral questionnaire.

Validation of the Instruments

A. Procedure in the development of research instrument

The following were used by the researcher in developing the research

instrument.

Identify the topics of items that specified the learning module related variables content and the
following Values Formations; (a) aesthetic (b) morality (c) love for cultural heritage (d) proper
decorum (e) patriotism (f) development of creativity (g) reflective thinking.
 The researcher gathered several textbooks and related materials which served as
references in the development of research instrument to make it clear and understandable.

Statistical Treatment

The responses of the students will be tallied, classified, analyzed, and interpreted by the

researcher. They will be measured by means of frequency distribution and percentages.

Computation will be made an statistical record. Those will be used to present the different

interpretation of the data.

In getting the percentage, the items of the sum will be divided by the total number of the

respondents, to be multiplied by 100. The formula to be used are as follows:

P = f
------ x 100
n
Legend:
p = percentage
F = frequency
N = number of cases
M = TWP
------
N

Legend:

M – mean

TWP - Total Weighted Point

N - number of cases
 Chapter 1

THE PROBLEM AND ITS BACKGROUND

Introduction

Physical Education, as a one of the subject of MAPEH which deals with the instruction in
the development and care of the body ranging from simple calisthenic exercises and activities
with the aim of the students’ becoming physical educated, physically fit and continuing process
of articulated, sequential development of skills, talents, attitudes and behaviors, (Tharpar, 2010),
is undeniably an interesting subject. It includes sports, recreational activities, dance and etc.

In the article of Agno (2009), to make teaching more effective, the teacher must able to
adjust their teaching styles and really know the lesson to meet the individual differences of
students. The teacher must use an appropriate instructional materials, content, and assessment or
evaluation. A teacher who knows his/her own styles is more likely to know to make an
adjustment of his own strengths and limitation.

As stated in the K to 12 curriculum guides for Physical Education, “the students must
demonstrate understanding of regional and Philippine National Dances...” In view of this,
Philippine Folk Dance has been taught and presented in schools particularly as part of Physical
Education in elementary and high school. The dance strand of the Physical Education school
curriculum document lays down recommendations relating to the desirability of including folk
dance schools.

Dance is a man’s natural and primitive means of self-expression. It is his most exultant

declaration of the joy of life. Man has always danced. He jumped and leaped into the air, he

skipped and hopped and gestured even before he had any written language. Every important

phase of life has been portrayed or celebrated in the dance. The ceremonial dance of primitive

tribes was a type of prayer when a tribe wanted something the members danced for it. They

dance to call the rain spirit to send rainfall for their crops. They danced that food might be
brought in time of famine. All this practices dance only showed that dancing is a part of human

life activities.

Our folk dances, like any folk dances all over the world should be preserved because they

represent vital pictures of our national life and culture. It is therefore essential that for the real

meaning and value of these dances to be preserved they must be learned and performed in their

original form. In every case, authentic music steps and costume should be used. Folkdance is an

important part of the lives of the common people. The forms passed from generation to

generations were natural, free, simple and spirited. People. Hence, “Folkdance becomes an

effective medium used in schools because folk dancing in the curriculum naturally abounds in

cognitive, effective, and psychomotor values.

In its cognitive aspects, the students can easily learn and remember historicals facts, custom,

tradition and knowledge of the art. – through the native dances and their music. In its affective

aspects, which focused in influencing the emotion of students are such values as aesthetic

appreciation, morality, proper decorum, love for our cultural, heritage and patriotism, all of

which maybe developed through reasons in folk dancing. It is an accepted fact that dancing being

a performed art, is rich in psychomotor values. Dancing provides excellent opportunities, for the

development of creativity as well as reflective and critical thinking.”

According to Folk dancing is a big factor in the total development of a

person. It is not only a dance accompanied by native music. It is not only a dance accompanied

by native music. It is an activity where students can express their emotions, or feelings and

communicate these to society. Folk dancing makes a man healthy and alert. True indeed that folk
dancing is responsible in the development of the physical, mental, emotional and social power of

men.

Major Aspects of Personality that Folk dancing developed in students: Physical aspect,
Folk dancing is not only a movement of the body in the accompaniment of music, it also
exercises the body where the students learn correct posture, develops a pleasing personality, and
makes the students healthy and alert. Emotional aspect, folk dancing awakes the finer nature of a
man with the two aspects; Folk dancing inspires us and makes us appreciate the varieties of
nature and; develops patriotism having the same mean. Mental aspect, Folk dancing leads us to
righteousness and better citizenry, builds self- discipline, develops time management, and
creativity. It is responsible for the development of the mind. As can be concluded, folk dancing
serves as a way to develop a wholesome personality. Social aspect, through folk dancing we get a
better understanding of our cultural heritage, the finer and noble sentiments of our race; Folk
dancing develops cooperation; It provides a common bond of friendliness and national
understanding among the people; Folk dancing is a factor in maintaining peace in our country;
Folk dancing makes us good leaders as well as good followers; and Folk dancing helps to unify
the people who realize their common interests, goals and historical resources.

This was supported by the National Commission for Culture and the Arts (NCCA) which
envision the Filipino culture as the well spring of national and global well-being. Its mission is to
develop and promote the Filipino culture and arts, and to preserve cultural heritage. One of its
mandates is to preserve and integrate traditional culture and its various creative expressions as a
dynamic part of the national cultural mainstream. The National Cultural Heritage Act of 2009
(RA 10066) mandate the Department of Education with NCCA’s Philippine Cultural Program to
formulate the cultural heritage education program both local and overseas Filipino to be
incorporated in the formal, alternative, and informal education, with emphasis on the protection,
conservation and preservation of cultural heritage properties” (Art. X, Sec.38)

One of the purposes of this study is to discover new folk dances of corresponding
instruction and transcribe the notation of the musical accompaniment of the traditional dances in
Atimonan, Quezon, in order to help in the preservation of their cultural heritage. Specifically the
study will identify, describe and document folk dances in Atimonan, Quezon, determine the
unique characteristics of these dances which contribute to the cultural identity of the
Atimonanins, give the cultural and educational values of these dances and help Atimonanin
preserve these beautiful folk dances for the future generation. The researcher used historical and
descriptive methods in studying the background of the locality as well as the life of the people.
The instruments use in gathering the data will be actual interview, observation, demonstration
and dance analysis. The two unpublished folk dances Jardinera and Garambal of Atimonan,
Quezon portray their customs and traditions and will be recorded and notated for preservation of
the original version and dissemination to the younger generation. The Atimonan dances should
be incorporated in the school curriculum to be used as instructional materials in teaching
nationalism and values development.

Theoretical Framework

The framework is supported by the following underlying principles and theories.

(Beltran, 2011). One of the main features of the K to 12 is the delivery of the lessons
through Localization. This curriculum framework highlights the fundamental importance of
context in shaping the curriculum, and consequently, the teaching- learning process. K to 12 also
K-12 is an educational system under the Department of Education that aims to enhance learner’s
academic skills and technical competencies, produce more competent citizens, and prepares
graduates for lifelong learning and employment. The goal of K-12 is to create a functional basic
education system which will produce responsible and productive graduates equipped with
essential competencies and skills.

(Poliquit, 2011).The country did not meet the international standard in student learning
achievement. Philippine has a poor quality education because instead of having a 12-year
curriculum we are still using a 10-year curriculum

Obviously alarming is the information that the graduates of an old curriculum are
experiencing hard to e accepted as professionals in abroad. Because the Philippines is the only
country in Asia adopting the 10 years of basic education where the global standard is 12 years
basic education; and addition, most of the graduates from the old curriculum are under to the
legal age of 18 and not as emotionally prepared for employment higher education, and
entrepreneurship (Poliquit, 2011). Localization will provide depth understanding of the lesson,
therefore, the achievement of the students is evident.

(Perin, 2011). The content of the lesson using localization adopts the students’ prior knowledge
and connects it to the new one allowing them to recall idea and process easily. Its main purpose
is to bring the lesson closer to the students and links in into global scenario.

Bringas, H.A. (2014) stated that, to localize, teacher use authentic materials, activities,
interests, issues, and needs from learners’ lives. He/ she should create room for students to pose
problems and issues and develop strategies together for addressing them.

The localized curriculum is based on local needs and relevance for the learners where there are
flexibility and creativity in the lessons. Bringas, H.A. (2014) gives important reminders on
localization; it can be done in all learning areas; localization maximizes materials, activities,
events, and issues that are readily available in the local environment; to localize, teachers must
use authentic materials, and anchor teaching in the context of learner’s lives.

According to Mouraz, A., and Leite, C. (2013), localization is a prerequisite in

addressing the content and organization of activities to be undertaken in the classroom. Student’s
engagement in their school work increases significantly when they are taught, why they are
learning the concepts and how those concepts can be used in real-world context.

Pecson (2014) believed that localization adhere to make the lesson flexible, fit, creative,
relevant, meaningful, and adaptive to the learners’ level of understanding and instructional needs.
The concept of localization falls on the idea that student learns best when experiences inside the
classroom have meanings and relevance to their living.

Taylor, A. And Mulhall, p. (1997) also suggested that localization of teaching and
learning can strengthen the links between the learning environment of the school, home and
community. This can be achieved by building on pupils’ experiences from outside the school and
providing additional experiences within the school program, this will allows learners also to
integrate their own learning experiences.
 According to UNESCO (2004), a key factor driving the localization of school curricula
and the localization of schooling content is the cultural and linguistic diversity of many nations.
This diversity must be taken into account when designing school lessons, both in terms of local
relevance and in terms of linguistic delivery, to create the vital links previously mentioned
between learners and materials. This local delivery must be associated with the natural
environment, social environment, as well as the cultural and environmental needs of the regions.

Piaget pointed out that students can solve any problem when the sample is in the real
object rather than illustration or verbal examples. Authentic objects can be easily examined
according to its characteristics. Using not concrete objects will result in disinterest of the
students. It is more relaxing in learning process if the student can manipulate the object and as a
result, they will find out easy to create ideas and thought using authentic objects. This related to
the study whereas using authentic and real objects is the centre of localization.

(Steele, 2010) . Dance is the combination of movement and experiences along with youth
outreach are the corner stone’s of life and art. She strongly believes that dance is a form of visual
and oral history. It tells a story; of how it is, how it was and how we wish the world to be.

(Reddick, 2005).Dance and arts frequently work as a barometer, showing us where we

stand as a society. It can show us the worst an individual or people can offer like prejudice,
intolerance and genocide on the best that those some can offer such as tolerance, love,
acceptance and the willingness to help regardless of the risk to self.

Bannon (2010), Dance is an intellectual, physical and sensorial response to the

experiences of the world, argues that the integration of our physical, intellectual, and emotional
selves that can occur in learning in dance has been advocated by many theorist as essential to
understanding the holistic benefits of education in and through dance. Dancing can teach
children to dwell their own body and find out the untapped potential, heightening the self
awareness.

Dance as an art (Lopez, et al, 2006), is one of the durable strands interwoven into our
people to form the fabric of culture. Dance has existed since man came into being similarly,
LACIA, et al (2013), describe dance as an identifying mark of one’s local culture and tradition.
It helps in understanding certain communities, their folkways, the way they live their lives during
the early years and how they preserve it to the present era.

According to Kahlich (2013), one of the features of dance as a performing art that has
been often noted is that it moves and it changes, both during the course of any given performance
and over time, young people continue to find ways to rebel and express themselves through
dance. As generations age, modern, street and square dance offer ways to remain physically
active and continue social interaction.

JUST WHAT IS folk dancing – and why is it such an important and enjoyable part of
school and physical education and community recreation programs?

The term is generally used to describe the traditional recreational dance forms of the
common people. Most folk dances are of anonymous origin and have been handed down from
generation to generation over a considerable period of time. Centuries ago, they were closely
related to the customs, rituals and occupations of the people who performed them, today;
however most folk dances have lost these associations and are performed primarily – in the
United States, at least – for social and recreational reasons. Fortunately, the folk backgrounds of
many dances are still known and provide a fascinating storehouse of information about the
people who originated them.

No matter what words we use to describe it, folk dancing is a unique and valuable form
of group activity. It contributes greatly to intercultural understanding, social adjustment, and
physical well-being, and it is not surprising that it has become an important part of the physical
education and recreation program in schools, colleges, and communities.

According to John Locke, FOLK DANCING IN EDUCATION, It was recognized

centuries ago that dancing in its many forms had much to offer in the upbringing of youth.

. . . since nothing appears to me to give children so much becoming confidence and behaviour,
and so to raise them to the conversation of those above their age, as dancing, I think they should
be taught to dance as soon as they are capable of it. John Locke, Some Thoughts Concerning
Education. London, W. Baynes, 1800.p.60.
 According to Charles W. Eliot, President of Harvard University during the latter part
of the nineteenth century wrote in a letter to Charles Francis Adams:

I have often said that I were compelled to have one required subject in Harvard College, I would
make it dancing if I could. West Point has been very wise in this respect. . .

In 1904, Dr. Luther Halsey Gulick, a pioneer in the field of American physical education, wrote
appreciatively of the desirable effects of folk dancing:

There is slowly but surely coming into our secondary schools and college recognition of dancing
as a bodily discipline. I refer . . . to the old folk dancing. . . . It is excellent and will enrich the
physical training program.

A great contribution to the growth of folk dancing in America’s schools was made by
Elizabeth Burchenal, founder and first president of the American Folk Dance Society. She
wrote several books, did original dance research in many countries, established folk dance
playground programs and taught many leaders over a period of several decades. Louis Chalif,
founder of the Chalif Russian Normal School of Dancing in New York in 1907, also published
widely and organized many courses, institutes, festivals, and folk dance, pageants. Others, such
as Mary Wood Hinman of Chicago and Sarah Gertrude Knott, director of the annual Folk
Festival in St. Louis, stimulated educational interest in folk dancing.

Just what are the important values that folk dancing brings to its participants? They may
be described in four categories: physical, social, cultural, and recreational.

Physical Values. As a vigorous activity which makes use of a wide variety of body
movements, folk dancing contributes to the learning of motor skills the development of a strong
sense of rhythm and spatial relationships, also the improvement of strength, agility, balanceand
endurance.

Social Values. The school or college student who participates in folk dancing learns to
cooperate with other members of his group and to accept responsibility for playing his part in the
group situation. Through dancing together, children and young people learn consideration for
each other and a code of social behaviour.
 Folk dancing helps to provide this, without any of the overtones of “teen-age rebellion”
or sex attraction that are found in the double-entendre lyrics and sophisticated themes of “rock-
and-roll” or other forms of ballroom dance music.

Through folk dancing, it is possible for the child to gain a strong sense of “belonging”, a
feeling of personal worth and achievement, and the knowledge that he is contributing to the
pleasure and welfare of others. And, when the group plans a special project, trip, festival, or
demonstration, the values of team cooperation become even more pronounced!

Cultural Values. Folk dancing is only the silhouette; only the study of movement. To
others, the study of folk dancing is a vivid picture of national life with colourful, fanciful
background of folk costume, custom, art, music and legend.

In summary then, the following might be listed as major folk dance values: To develop desirable
social attitudes through participation in once activity; To develop understanding and respect for
one’s own culture, ethnic heritage, and for that of other people; To promote the most efficient use
of the body, including speed, agility, balance, endurance, and grace; To develop an appreciation;
To have fun.

According to Theresa O. Balance (1991) . School is the next home for pupil’s education.
We rabbis are called to serve as “loco parentis” – parents who are expected to guide, meld and
help our children to have good values in life. Being in school, first and foremost, our role is to
train them in the proper habits towards education. It is education that will help them to be assets
as future generations that will lead our society. Integration of values education in every subject is
a requirement for every lesson. It is also stated as one of the three domains of the objective. It is
part of learning every pupil must learn and apply in his life. But a greater learning comes if it is
modelled correctly by us teachers. We are expected to teach the best we can so that our pupils
will grasp every idea and skill they have to know.

What will you expect if the student’s hope for better education will not be met at school? If
lessons are like something they have to ignore because they are not well presented? And so,
proper motivation on.
 D. Albonia Elementary School Jose Panganiban West District. Developing a right
attitude among our students towards their studies needs a lot of wisdom from us as teachers. But
who are in charge and the prime people responsible for such development? Social development
among learners is one of our roles which we should give enough time to master. And so, are we
aware of the different agents of socialization?

A family is the smallest institution that builds and nurtures the personality of a child. This
means that the values and beliefs actually start at home. His attitude towards his studies begins at
early age. How parents inculcate the importance of such in every individual and how they
motivate their child on the significance of being true to it affects his thought on the worth of
going to school. We are all aware by experience that students who have the moral support of their
guardians excel in class. If schooling ends in failure on the part of child, difficulties will rise as
he goes out of his shelter and steps onto another stage of his life – going out of school.

Students’ sense of values surfaces when educators encourage students to view dances and
reflect on the principles they identify in the work (see Hodes 1995). Many aspects of dance are
transmitted from one generation to the next. Consequently, dance is a repository of values and a
telling imprint of civilization.

According to Thomas Pilecki, former principal of St. Augustine School of the Arts,
located in the Bronx, teachers promote an awareness of the communication of such values to
help students cultivate inner strength with which to with stand outer negative peer group groups
pressures.

SELF- EXPRESSION. To promote self- expression and thereby gain insight, educators ask
students to communicate feelings, thoughts, and ideas through dance. By projecting their
problems in dance, children may work through some difficulties in their lives that impede their
success in school. Distancing oneself or holding up a conflict to scrutiny through srtistic self-
expression allows the dance marker to evaluate problem and work.

SELF-ESTEEM. Youngsters can improve their self-esteem through dance by working on

acceptance and appreciation of their bodies, feeling the kinaesthetic joy of movement, making
physical fitness a part of their lives, and feeling a sense of self- empowerment and the
satisfaction that comes with achievement. (See Bandura 1997; Baumeister 1996; and Smelser
1989 on misconceptions about self-esteem.) The achievement comes through the mind-body
integration of dance making choreographed the musical “Kismet” with Indian influences.

The reasons for looking at other cultures’ dances are multifold (see Banks 1997).
Although dance is not a universal language, each individual has a body that moves; we can
identify with other cultural groups through the shared experience of the human body in motion.
Cross- cultural understanding depends on the interplay between skilled performance and an
observer’s sensitive perception in feeling movement and interpreting it.

To learn the dances of many people’s been, for Ted Shawn, to learn to love them.
Diversity has created what is considered American dance and what is now part of the search for
parity in this culture. U.S. society is becoming more diverse demographically than ever before.
Moreover, as the world continues to shrink and homogenize with technological advances,
exchanges among dance communities and peoples increase.

UNDERSTANDING OTHERS. Dance is a particularly vibrant means through which to begin to

understand a different culture; dance enables one to learn much about the dance’s creators,
producers, and audiences (Ijaz 1980). Dance like language, is a window to a person’s worldview.
Exposure to a various aesthetics and their socio cultural contexts and history allows a person to
see and understand more than her or his own footsteps. Diverse cultures have unique and
meaningful ways of expressing universal themes.

UNDERSTANDING ONE’S SELF. By looking ourselves in our infinite human variety, we can
better understand our own forms of dance and gain a deeper self-knowledge. Learning about
one’s own culture usually provides a sense of identity, roots, and self- understanding
(Cunningham 1991; Hanna 1997d).

The path to self-understanding includes learning about our own culture-bound

assumptions about dance.
 RESEARCH PARADIGM

This study was guided by this conceptual model, which is shown in figure 1 in a form of
paradigm. The paradigm different factors to describe the parameters of the study.

INDEPENDENT VARIABLE DEPENDENT VARIABLE

FEATURE OF ATIMONAN FOLK DANCES VALUES FORMATION

Process of Folk Dances:

- Historical Background 1. Aesthetic

- Classification of the Dances 2. Morality

- Costume 3. Love for cultural heritage

- Music used and time signature/ 4. Proper Decorum

tempo
5. Patriotism
- Dance steps and arm positions
6. Development of Creativity
- Traits
7. Reflective Thinking
- Customs

- Traditions

STATEMENT OF THE PROBLEM

This study aims to determine Folk Dancing as an effective medium to students’ values
formation in terms of Aesthetic, Morality, Love for cultural heritage, Proper Decorum,
Patriotism, Development of Creativity, and Reflective Thinking.
Specifically, it seeks to answer the following questions:

1. What is the respondents profile in terms of :

1.1 Age;

1.2 Gender and

1.3 Interest?

2. What is the students’ perception of Folk Dancing in terms of:

2.1 Historical Background;

2.2 Classification of the Dances;

2.3 Costume;

2.4 Music used and time signature/ tempo;

2.5 Dance steps and arm positions;

2.6 Traits;

2.7 Customs and

2.8 Traditions?

3. What is the effect of Folk Dancing to students’ values formation in terms of:

3.1 Aesthetic

3.2 Morality

3.3 Love for cultural heritage

3.4 Proper Decorum

3.5 Patriotism
 3.6 Development of Creativity

3.7 Reflective Thinking

4. Is Folk Dancing has a significant relationship to students’ values Formation.

Hypothesis

1. There is no significant relationship between a Folk Dancing and Students’ Values

Formation.

Significance of the Study

This study is beneficial to the following:

To the JHS students. This study may help Fostering personal development involves
dance education classroom exercises designed to promote values, self- expression, and self-
esteem. Education practices also provide a family substitute, supportive sanctuary, and sense of
community for youngsters from poorly functioning homes and neighbourhoods.

Furthermore, Based from the researcher’s experience when she was in high school, most

of her classmates has not interested in folk dance, they also don’t want to study different folk

dances and her don’t appreciate folk dance. The researcher found it difficult to learn folk dance.

The researcher will be undertaken this study because of the curiosity about the importance and

benefits of alternative learning guide for the difficulties encountered in learning folk dance. She

had an interest to focus on folk dance because as an educator, she wants to foster patriotism and

nationalism through the study of our dance and culture, uplift better appreciation of Philippine
folk dances, provide through dancing a healthful form of relaxation and recreation and develop a

graceful and rhythmic coordination and body movements that will improve posture.

To the teachers, the study may enhance teaching among students of MAPEH with the

development of localized instructional material.

To the Atimonan Folk/ Atimonanins, Increased cultural awareness and values of

Atimonanins thru localized dances.

And also, preservation and propagation of local culture.

To the future researchers, this study may provide related concepts which may be

relevant in the conduct of similar or related study.

Scope and Limitations of the Study

The main concern of this study is to documented and use localized unpublished dances of

Atimonan, Quezon. Also, results revealed that the values held and ways of life of Atimonanin are

reflected in the steps, movements and theme of dances. Love of nature, work, and courtship are

some of the themes in a dance.

In addition to that, in order to preserve and promote culture, and preserve the good values

of the ancestors, the teachers of Atimonan National Comprehensive High School Atimonan,

Quezon should adopt the lesson exemplars which are outputs of this study.

Definition of Terms

Aesthetic – concerned with beauty or the appreciation of beauty; a set of principles underlying
and guiding the work of a particular artist or artistic movement.

Background – the area or scenery behind the main object of contemplation, especially when
perceived as a framework for it.
Classification – the action or process of classifying something according to shared qualities or
characteristics.

Costume – a set of clothes in a style typical of a particular country or historical period.

Creativity – the use of imagination or original ideas, especially in the production of an artistic
work.

Customs – a way of behaving or a belief that has been established for a long time among a group
of people

Dance – the movement of the body in a rhythmic way, usually to music and within a given
space, for the purpose of expressing an idea or emotion, releasing energy, or simply taking
delight in the movement itself.

Decorum/ proper decorum – behaviour in keeping with good taste and propriety.

Feature – a distinctive attribute or aspect of something.

Folk – originating or traditional with the common people of a country or region and typically
reflecting their lifestyle; of or relating to the common people or to the study of the common
people folk sociology.

Folk Dance – a popular dance, considered as part of the tradition or custom of a particular
people.

Formation – the action of forming or process of being formed; development, evolution, shaping,
generation

Heritage – features belonging to the culture of a particular society, such as traditions, languages,
or buildings, which come from the past and are still important; property that is or may be
inherited; an inheritance.

Historical – of or concerning history; concerning past events; belonging to the past, not the
present.
Localization – the process of making something local in character or restricting it to a particular
place; the process of adapting a product or service to a particular language, culture and desired
local “look-and-feel.”

Love – an intense feeling of deep affection; a great interest and pleasure in something.

Medium – an agency or means of doing something.

Morality – principles concerning the distinction between right and wrong or good and bad
behaviour; a particular system of values and principles of conduct, especially one held by a
specified person or society.

Patriotism – the quality of being patriotic; devotion to and vigorous support for one’s country.

Position /Arm position – a place where someone or something is located or has been put.

Reflective – providing a reflection; capable of reflecting light or other radiation.

Steps – an act or movement of putting one leg in front of the other in walking or running.

Tempo – the speed at which a passage of music is or should be played.

Thinking – the process of using one’s mind to consider or reason about something.

Time signature – an indication of rhythm following a clef, generally expressed as a fraction

with the denominator defining the beat as a division of a whole note and the numerator giving
the number of beats in each bar.

Tradition – the transmission of customs or beliefs from generation to generation, or the fact of
being passed on in this way.

Trait – a distinguishing quality or characteristic, typically one belonging to a person.

Values – the regard that something is held to deserve; the importance, worth, or usefulness of
something.