Critic on Teaching Philippine Folk Dances

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CRITIQUE ON TEACHING PHILIPPINE FOLK DANCES Dance education involves teaching of the tradition, techniques, style and the methodologies of teaching the dance itself. Tradition is taught in and out of the school, making dance both as an academic discipline and a social practice or custom. The school teaches formally with syllabi and systems whereas the society teaches in communal activities from rites to games, from work to celebrations. Both serve to perpetuate tradition, by both hows, and whys. Schools can codify folk dancing, while society can continue to change this in real life circumstance. Before, dances such as the Pangalay, a dance of the Samal which is danced languidly on the ground, or precariously on bamboo poles or the pagdiwata of Palawan, which involves offerings during a festival to solicit a good harvest, are now formally taught in schools under the Physical Education program thanks to Francisca Reyes Aquino.
The topic that I have chosen is under the Physical Education component which is about Philippine Folk Dances. This is taught in the fourth grading period in high school and partly taught in the collegiate level under the Physical Education 2 subject which is about Dances in general. I have chosen this subject since I think of all the topics taught in PE, this has been given minimal consideration especially in teaching, considering that these dances have an integral part in our culture.
First is the attainment of the objectives in learning Philippine Folk Dances. Some of the objectives in relation to culture include the following: a) to foster patriotism and nationalism through the study of our dances; b) to arouse better appreciation of Philippines music and folk dances; c) to preserve posterity, folk dances and music indigenous to the different regions in the Philippines. There are instances that these objectives are neglected and focused more on the technical aspect of learning Philippine Folk Dances, like execution of the steps

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