Left Side In Tagalog

Left Side In Tagalog

YES OR NO 1.Music in the dance Itik-Itk is composed of two parts 2. It follows the rhythm of one , two, three to a measure. 3.The dancers used patadyong or balintawak style for girls and barong tagalog or camisa de chino and white trousers for boys 4.The dancer are asked to stand side by side with their partner for at least six feet away from each other 5.Girls usually stay at the left side of the boy.​

Daftar Isi

1. YES OR NO 1.Music in the dance Itik-Itk is composed of two parts 2. It follows the rhythm of one , two, three to a measure. 3.The dancers used patadyong or balintawak style for girls and barong tagalog or camisa de chino and white trousers for boys 4.The dancer are asked to stand side by side with their partner for at least six feet away from each other 5.Girls usually stay at the left side of the boy.​


Answer:

1.YES

2.YES

3.YES

4.YES

5.YES

1.YES

2.YES

3.YES

4.YES

5.YES

Explanation:

I'M NOT SURE

#CARRY ON LEARNING


2. LET ME REMIND YOU ABOUT THE MECHANICS FOR WRITING, Always have margins on your paper. Wider margin on the left hand side and narrower on the right hand side. Always use pen with black ink only. Penmanship should be legible and should be cursive. Erasure are not nice to see or look at. Observe usage of proper punctuations. Observe correct utilization of grammar. Wrong spelling is called wrong spelling because definitely it is wrong.anu tagalog nito ​


Answer:

IPAALAHANAN KO SA ANG TUNGKOL SA MGA MECHANICS PARA SA PAGSULAT, Palaging may mga margin sa iyong papel. Mas malawak na margin sa kaliwang kamay at mas makitid sa kanang bahagi. Palaging gumamit ng panulat na may itim na tinta lamang. Ang Penmanship ay dapat na mabasa at dapat maging sumpa. Ang pagbubura ay hindi magandang tingnan o tingnan. Pagmasdan ang paggamit ng wastong mga bantas. Pagmasdan ang wastong paggamit ng gramatika. Ang maling baybay ay tinatawag na maling baybay sapagkat tiyak na mali.

#PaBrainly


3. anu tagalog nito LET ME REMIND YOU ABOUT THE MECHANICS FOR WRITING, Always have margins on your paper. Wider margin on the left hand side and narrower on the right hand side. Always use pen with black ink only. Penmanship should be legible and should be cursive. Erasure are not nice to see or look at. Observe usage of proper punctuations. Observe correct utilization of grammar. Wrong spelling is called wrong spelling because definitely it is wrong.​


Answer:

Ipaalalahanan Ko sa IYO TUNGKOL SA MGA MEKANIKAL PARA SA PAGSULAT, Palaging may mga margin sa iyong papel. Mas malawak na margin sa kaliwang kamay at mas makitid sa kanang bahagi. Palaging gumamit ng panulat na may itim na tinta lamang. Ang Penmanship ay dapat na mabasa at dapat maging sumpa. Ang pagbubura ay hindi magandang tingnan o tingnan. Pagmasdan ang paggamit ng wastong mga bantas. Pagmasdan ang wastong paggamit ng gramatika. Ang maling baybay ay tinatawag na maling baybay sapagkat tiyak na mali ito.

Explanation:


4. Before startingabout Tinikling.Activity 1:Directions:statementis incorrect.Directions: Write TRUE if the statement is correct and FALL1. Tinikling is the national dance of the Philippines and one of2. Tinikling originated during the Spanish colonial period.3. Tinikling is a favorite dance of the Visayan Islands, especially in the1.dances in the archipelago.an2.4. Tinikling imitates the movement of the "Tikling" birds as they walki5. Tikling is a term that is commonly used for a whole range of sagrass stems or run over tree branches.7. The approximate length of bamboo poles in Tinikling is 6 feet (:6. In Tinikling, there are six dancers - three males and three females1.829 m).8. One of the equipment in Tinikling dance is the three pieces ofplaced under the bamboo poles.9. In Tinikling, the girl's costume is called balintawak or patadyong,10. In Tinikling, boys wear an untucked embroidered shirt calledzanigail barong Tagalog and long trousers with one leg rolled up.11. The balintawak is a pineapple fiber blouse paired with checkered skits12. The patadyong are colorful dresses with wide arched sleeves.13. During entrance, dancers stand at the left side of the bamboo polesgirls in front, facing the audience.14. Tinikling music is divided into three parts: A, B, and C.15. The basic steps involved in this dance are hop, jump, leap and waltz.​


Answer:

1.TRUE

2.TRUE

3.TRUE

4.FALSE

5.TRUE

6.TRUE

7.TRUE

8.TRUE

9.FALSE

10.TRUE

11.TRUE

12.TRUE

13.TRUE

14.FALSE

15.TRUE

Answer:

truefalsetruefalsefalsetruetruetruetruetruetruetruetruetruetrue

Explanation:

hope it helps :-)

5. - despite these arguments, if we put these ideas on the affirmative side, we can tell that the educational system in our country improved. Yes, I cannot deny the fact that with these changes in the system teachers have been negatively affected. - But if look deeper and realize without these changes new opportunities of educational institution including teachers will not be open. - let me give you some examples: as the years passed educational system of the Philippines is nit that good enough compare to the other country. In short education here were left behind - curriculum and teaching instructions were not properly developed and teachers knowledge and new opportunities is not spotted. - But now as you can see, since the day that Deped started its blending its progress with the other country things got better in terms of knowledge and opportunities both teachers and students - They were able to harness their capability in technology, and broaden their knowledge because of the challenges given by our educational system - old and traditional way of teaching improved and knowledge given by books were modernized into online which makes us became more flexible - teachers were given an opportunity to expose and use their skills and creativity just to make teaching more in when it comes to the new era. - students were challenged to use different ways of getting information and achieving knowledge on their own and that makes them become independent. To put things in context, the educational system had given an opportunity to us and the teachers. let's not focus on the negative side because after all we did not achieved these levels of knowledge without the changes of the system itself. PA TAGALOG PO THANKS


Answer:

because this video is not a good time with my heart is taken from the album


6. - despite these arguments, if we put these ideas on the affirmative side, we can tell that the educational system in our country improved. Yes, I cannot deny the fact that with these changes in the system teachers have been negatively affected. - But if look deeper and realize without these changes new opportunities of educational institution including teachers will not be open. - let me give you some examples: as the years passed educational system of the Philippines is nit that good enough compare to the other country. In short education here were left behind - curriculum and teaching instructions were not properly developed and teachers knowledge and new opportunities is not spotted. - But now as you can see, since the day that Deped started its blending its progress with the other country things got better in terms of knowledge and opportunities both teachers and students - They were able to harness their capability in technology, and broaden their knowledge because of the challenges given by our educational system - old and traditional way of teaching improved and knowledge given by books were modernized into online which makes us became more flexible - teachers were given an opportunity to expose and use their skills and creativity just to make teaching more in when it comes to the new era. - students were challenged to use different ways of getting information and achieving knowledge on their own and that makes them become independent. To put things in context, the educational system had given an opportunity to us and the teachers. let's not focus on the negative side because after all we did not achieved these levels of knowledge without the changes of the system itself. pa tagalog naman po ty


Answer:

so ganito yan wag ka mag titiwala sa mga lalaki


7. pa translate nga Po sa Tagalog.Nail File Hold the file firmly in the right or left hand (as the case may be), with the thumb underneath it for support and the other four fingers on its upper surface. Place the file slightly under the free edge and file the nail from corner to center, shaping the nail. Never file back and forth; this would cause the nails to crack and split. Do not file deep into the corners; this weakens the nails, hurt the skin and cause ingrown nails. Emery Board It is held in the same manner as the nail file. Bevel the rough surface of the nail using the fine side to smoothen it. Emery boards are discarded after use on one person.​


Answer:

ano Ang LCM comon FActor


8. True or False1.Tinikling is a traditional Philippine folk dance which originated during the Spanish colonial era.2.The name "tinikling" is a reference to birds locally known as sikling.3.The term tinikling literally means "to perform it 'sikling-like.4.The dance originated in Leyte,Island in Mindanao.5.Dancers imitate the tikling bird's legendary grace and speed by skillfully maneuvering between large bamboo poles.6.In tinikling,girls wear "tapis or patadiong".7.In Tinikling,boys wear "barong tagalog" and long red trousers with one leg rolled up.8.In Tinikling Dance,boys and girls dance barefoot.9.Music of Tinikling was divided into two parts:A and B.10.Dancers steps stand at the left side of the bamboo poles,girls in front,facing the audience.11.Exercise is defined as the physiological (or physical and emotional responses to a significant or unexpected change or disruption in one's life.12.Stress is inevitable and a normal part of life.13.Stress can also be defined as a state of mental or emotional strain resulting from difficult or demanding circumstances.14.The word stressor refers to the things that make a person stressed.There are two different kinds of stress-eustress and distress.15.Distress refersto to a positive and healthy response of the body from a stressor.16.Distress refers to a negative reaction of the body towards a given stressor.17.Mentally unhealthy person looks at things positively and their best to anything they need to achieve.18.Mentally healthy person does not accept responsibility for their action.They do not blame on anyone else when problems arise as a result of their work.19.Persons who are mentally healthy does get along well others.20.Accepting changes and adapting to these is a sign of being mentally healthy.​


Answer:

truetruefalsetruefalsetruetruetruefalsetruefalsefalsetruetruefalsetruetruetrue falsefalse

Explanation:

sana naka tulong po aqu:>


9. What is the size of the bamboo used in Tinikling dance?A. 30 inches long, 2 inches thickB. 20 inches long, 2 inches thickC. 20 inches long, 3 inches thickD. 30 inches long, 4 inches thick --------------------------------------------2. It is a costume used in dancing the Tinikling.A. Maria ClaraB. Balintawak with soft panueala and tapisC. Kimona and PatadyongD. Balintawak and Patadyong --------------------------------------------3. The costume used of boys in dancing Tinikling.A. Camila de Chino and trousers of any colorB. Barong Tagalog and long red trousers with one leg rolled upC. G string, short jacket, and shoulder band, feathered headdress--------------------------------------------4. Which of the following is the correct formation of boys and girls dancing the Tinikling?A. Dancers stand at the left side of the bamboo poles, girls in front facing the audienceB. Dancers stand at the right side of the bamboo poles, girls in front facing the audience C. Dancers stand at the left side of the bamboo poles, boys in front facing the audienceD. Girls stand at the left side at the bamboo poles, boy in front facing the audience --------------------------------------------5. The correct count of the dance.A. One and two, three to a measureB. One, two, three to a measureC. One, two, and three to a measureD. One and two and three to a measure ​


Answer:

ACDBB

Explanation:

HOPE ITS HELP

#CARRY ON LERNING


10. 11. Tinikling step wherein feet are apart outside bamboo poles in count 3.12. To spring from one foot and landing on the same foot.13. Movement of the hand describe as to turn hand from the wrist either clockwise or counterclockwise.14. The boys wear this costume in Tinikling dance.15. Dancers stand at the left side of the bamboo poles with the girl in front facing the audience.BARONG TAGALOG FEET APART FORMATION HOP KUMINTAN​


Answer:

11.feet apart

12.hop

13.kumintang

14.barong tagalog

15.formation


11. 7. This spin can be described as sidespin turned on its head. What type of spin is it? a. Topspin C. Corkscrew b. Backspin d. Sidespin 8. In table tennis, how do you perform the topspin? A. Your paddle must be in the position where your forehand side faces 45 degrees downward B. Your paddle should be angled upward so that your forehand side faces the ceiling C. The angle of your paddle is sideways and swing sideways D. The angle of your paddle is uoright, pulling the left or right 9. It allows you to use your opponent's force against him or her, you usually execute this after a bounce to retain maximum control or speed over the ball. What type of stroke in table tennis is it? a. Block c. Push b. Smash d. Drive 10. Which of the following is true about table tennis? A. The moment you release the ball by your hand in service, the ball is in spin B. You gain a point if you fail to make a good serve C. You play a match for the best of three or best of five games D. You win the game if you first secure 23 points 11. It is a stance in Arnis in which you stand with your hands reklaxed at your side, heels closed together with feet in 45-degree angle. a. Attenton c. Open-Leg Stance b. Straddle d. Forward Stance 12. Arnis was given different names in different localities. What do you call Arnis in Tagalog Region? a. Pagkalikali c. Kaliladaran b. Pananandata d. Kabaraon​


Answer:

1.a

2.a

3.c

4.d

5.b

6.d

7.a

8.c

9.a

10.d

11.c

12.a


12. 1. Who are the characters in the story? Describe each._________________________________________________________________________2. What unique identity/traits of the characters are shown in the story?Ka Ponso- _____________ Fathe/Julior- ________________Jose- __________________3. How did Julio show his love to Jose?__________________________________________4. If you are in ka Ponso’s shoes, What will you do? Why and why not?_________________________________________________________________________5. How can you make others happy in your own way?_______________________________The Happiest Boy in the Worldby: NVM GonzalezJulio, who had come from Tables to settle in Barok, was writing a letter to, of all people,ka Ponso, his landlord, one warm June night. It was about his son, Jose, who wanted to goto school in Mansalay that year. Jose was in the fifth grade when Julio and his family had leftTablas the year before and migrated to Mindoro. Because the father had to stop schoolingfor a year. As it was, Julio though himself lucky enough to have ka Ponso to take him astenant. Later when Julio’s wife, Fidela, gave birth to a baby. Ka Ponso, who happened to bevisiting his property then, offered to become its godfather. After that they began to call eachother compadre."Dear Compadre,"Julio started to write in Tagalog bending earnestly over a piece ofpaper which he had torn out of Jose's notebook. It was many months ago when, just as now,he had sat down with a writing implement in his hand. That was when he had gone to themunicipio in Mansalay to file a homestead application, and he had used a pen, and to hisgreat surprise filled in the blank forms neatly. Nothing came of the application and talkedwith the officials concerned. Now, with a pencil instead of a pen to write with, Julio was surethat he could make his letter legible enough for Ka Ponso."It's about my boy Jose, "he wrote on. "I want him to study this June in Mansalay. He'sin the sixth grade now, and since he's quite a poor hand at looking after your carabaos, Ithought it would be best that he goes to school in the town."He sat back and learned against the wall. He had been writing on a low wooden bench,the sole piece of furniture in the one-room house. There he sat in one corner. A little wayacross stood the stove; to his right Fidela and the baby girl, Felipa lay under the hempenmosquito net. Jose, who had been out all afternoon looking for one of Ka Ponso's carabaosthat he had strayed away to the newly planted rice clearings along the other side of the Barokriver, was here too, sprawing beside a sack of palay by the doorway. He snored lightly, likea tired youth; but he was only twelve.The kerosene lamp's yellow flame flickered ceaselessly. The dank smell of food, offish broth particularly, that had been spilled from many a bowl and had dried on the floorseemed to rise from the very texture of the wood itself. The sad truth about their poverty, ifJulio’s nature had been sensitive to it, might have struck him with a hard and sudden blowthen; but as it was, he just looked about the room, even as the smell assailed his nostrils,and stared now at the mosquito net, now at Jose as he lay there by the door. Then hecontinued with his letter."This boy, Jose, compadre,"he went on, "is quite an industrious lad. If you can only lethim stay in your big house. Compadre, you can make him do anything you wish-any work.He can cook rice, and I'm sure he'll do well washing dishes."Julio recalled his last visit to ka Ponso's about three months ago, during the fiesta.he had seen that it was a big house with many servants; the floor was so polished youcould almost see your own image under your feet as you walked; and always there was aservant who followed you about with a piece of rag to wipe away the smudges of dirt whichyour feet had left on the floor."I hope you will not think of his as great bother. "Julio continued, trying his best tophrase these thoughts. He had a vague far that ka Ponso might not favourably regard hisletter. But he wrote on, slowly and steadily, stopping only to read what he had put down.​


Answer:

Dear, User

               

            Thank you  for the póínts you have given me. Pls do not take this seriously, this is just a little prank to kill my boredom. Now then Good Luck scrolling :).

.

.

.

.                                                                                                                                  

.

.                                                                                                                                  

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.

.

.

.                                                                                                                                  

.

.                                                                                                                                  

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.                                                                                                                                  

.                                                                                                                                    

.

.

.

.

.

.

.

.

.

.

.

.

:)()

Explanation:


13. What I KnowDirections: Wirite TRUE if the statement is correct and FALSE the is incorrect.1. Tirilding is the national dance of the Philippines and one of the oldest dances in the archipelago.2. Tinilling originated during the Spanish colonial period.3. Triding is a favorite dance of the Visayan Islands, especially in the province of Leste4. Triling irritates the movement of the Tiking birds as they walk betweengrees sterrs or run over tree branches.5. Tiking is a term that is commonly used for a whole range of Squaccospecies of birds8. In Tinikling, there are six dancers - three males and three females.7. The approximate length of bamboo poles in Tinikling is 6 feet (about 1.829 m)8. One of the equipment in Tinikling dance is the three pieces of boardplaced under the bamboo poles.9. In Triking, the girl's costume is called balintawak or patadyong.10.In Tirikling, boys wear an untucked embroidered shirt called the barong Tagalog and long trousers with one leg rolled up.11. The balintawak is a pineapple fiber blouse paired with checkered skirts.12. The patadyong are colorful dresses with wide arched sleeves.13.During entrance, dancers stand at the left side of the bamboo poles, girls in front, facing the audience.14. Tinirling music is divided into three parts: A, B, and C.15. The tanic steps involved in this dance are hop, jump, leep and waltz.PASAGOT NAPO NOW NA, BUKAS NAPO PASAHAN NAMEN PLEASE ANSWER THE RIGHT ANSWER.​


Answer:

1-3:) True4:)false5-7:) True8-9:) false10→di ko yarn alam11-15:)true

14. 1. What do you call the mimetic folkdance in the Philippines?A.Itik-Itik B. Maglalatik C.Tinikling D. Sala ti Mais2. The Itik-Itik dance originated inA.Surigao del Sur B.Surigao del Norte C.Negros Oriental D. Negros Occidental3. Itik-Itik is the tagalog of the wordA.duck B. chickenC. birdD. frog4. The dancers move like a duck wading and swimming.A. Itik-itik B. binasuhan C. Singkil D. Tinikling5. It is an activity where you move your body in time with the music.A. Stage play B. DanceC. Acting D. Opera6. The hand is with a semi opened palm and finger pointing upward. Wrist is turnin circular motion.A. Kumintang B. Sarok (Salok) C. Hayon-hayonD. Kewet (Kalawit)7. Your two arms are related at sides and bent at elbows so that theforearms are parallel to the head, palms facing Inwards.A. Kumintang B. Reverse “T” Position C. "T" Position D. Kewet (Kalawit)8. Your arms are in T position with hands closed and thumbs “UP”position. Turn wrist in circular motion.A. Kumintang B. Reverse "T" Position C. “T” Position D. Kewet (Kalawit)9. Your right arm is making a big circular motion in front while the left arm isresting.A. Kumintang B. Sarok (Salok) C. Hayon-hayon D. Kewet (Kalawit10. A dance performed by males using coconut shells.A. Binasuan B. Sala Ti Mais C. MaglalatikD. Regatones11. Your both arms are raised at sides and bent at elbows so that theupper arms are at your shoulder level.A. Arms in 1st positionC. Arms in 3rd PositionB. Arms in 2nd PositionD. Arms in 4th Position12. A pair of dancers are hopping between bamboo poles stuck on the ground likea” Tikling" in time with music.A. Tinikling B. SingkilC. KalatongD. Maglalatik 3​


Answer:

1.A.Itik-Itik SANA MAKATULONG PO ITO!

Answer:

1.B 2.A 3.A 4.A 5.B 6.C 7.B 8.B 9.A 10.C 11.A 12.A

Explanation:

Pa brainlest po thank you


15. Direction: Write FACT if the statement is corect and BLUFF if the statement is incorrect._____1.Tinikling is the national dance of the Philippines and one of the oldest dances in archipelago._____2.Tinikling originated during Spanish colonial period._____3.Tinikling is a favorite dance of the Visayan Islands, especially in the province of Leyte._____4.Tinikling imitates of the movement of 'tikling' birds as they walk between grass stems or run over tree brunches._____5.Tikling is a term that is commonly used for a whole range of Squacco species of birds._____6.In Tinikling there are six dancers - three males and three females._____7.The approximate length of bamboo poles in Tinikling is 6 feet (about 1.829m)._____8.One of the equipment of Tnikling dance is the three pieces of board place under the bamboo poles._____9.In Tinikling, the girl's costume is called balintawak or patadyong._____10.In Tinikling, boy's wear an untucked embroidered shirt called the barong Tagalog and long trousers with one leg rolled up._____11.The balintawak is a pineapple fiber blouse paired with checkered skirts._____12.The patadyong are colorful dresses with wide arched sleeves._____13.During entrance, dancers stand at the left side of the bamboo poles, girls in front, facing the audience._____14.Tinikling music is divided into three parts: A, B and C._____15.The basic steps involved in this dance are hop, jump, leap, and waltz.Pls answer i need it​


Answer:

1.Fact

2.Bluff

3.Fact

4.Fact

5.Fact

6.Fact

7.Fact

8.Bluff

9.Fact

10.Fact

11.Fact

12.Fact

13.Fact

14.Fact

15.Bluff

Explanation:

I hope its correct thank you...


16. РЕ.21. It is a traditional Philippine folk dance which originated during the Spanish colonial era a.Cha-cha b. tinikling c. carinosa d. maglalatik 22. The name tinkling is a reference to birds locally known as a maya bParrot c duckling d. tidling 23. Tinikling dance was originated in a.Suriyao City b. Cebu c.Davao d. Leyte 24. Costume for tinkling for boys and girls a. Malong saya b.Barong tagalog/petadiong c. Trousers/ dressd.all of the above 25. True false or maybe in tinilling step len, Hop on R foot outside the bamboo poles. a True b.false c.maybe d. All of the above 26. Dancers stand at the left side of the poles on the L foot tap with R foot twice between the poles oni counts 2 and 3 of measure 5. a.True b. false c. maybe d all of the above 27. In introduction, starting with the R foot, dancers will take four waltz step forward going to proper places a.True b. false c. maybe d. all of the above 28. Take seven tinikling steps R and L alternately a: True b. false c. maybe d. all of the above 29. In bamboo rhythms, strike bamboo poles together once by sliding them against the board or lifting then an inch or so (ct 1) a true b. false c. maybe d all of the above 30. In an formation dancers stand at the left side of the bamboo poles, girls at the back , facing the audience a True b.false c. maybe d all of the above HEALTH 31. What do you call the dimension of health that deals with a person's thoughts and feelings? a. Physical dimension b. mental dimension c. emotional dimension d social dimension 32. What do you call the physical and emotional response to a sad and unexpected situation due to some experiences? a.Anxiety b. stress c. grief d love 33. Any situation that may cause stress to a person is called?a love b. stressor c distress d eustress 34. Which of the following is considered stressful? a. Losing your money b. going to a new place c. attending a party d witnessing a tribal 35. If you feel happy when you got an outstanding grade in the exam after long hours of review, what kind of response is that? a Eustressb.anxiety c. distress d.stress36. It affects how we think, feel and act. It also determine how we handle stress, relate to others, and make choices a Mental health b. eustress c. emotional health d distress 37. Which of the following best describes eustress? a.Arguing with siblings b. losing loved ones c. getting high grade d having separated parents 38. It refers to the things that make a person stressed. a.Stress b. eustress c. distress d stressor 39. It is defined as the physiological and emotional responses to a significant or unexpected change or disruption in one's life a Stress b. eustress c. distress d stressor 40. If you woke late for work, feeling angry and disappointment you are having a kind of stress called a Stress b. eustress. c. distress d stressor ​


Answer:

21.A

22.C

23.B

24.D

25.D

26.C

27.A

28.B


17. ACTIVITY 1. Look for the words that is being described by the sentences below Write the correctterm on the line before each numberFORMATIONLEYTEPATADYONGTIKLINGBARONG TAGALOG6. The girls wear this costume in tinikling dance.7. Tinikling came from the worda bird with long neck and long legs8. Dancers stand at the left side of the bamboo poles with the girl in frontfacing the audience.9. The boys wear this costume in tinikling dance.10. This dance is a favorite in the Visayan Islands especially in the province of​


Explanation:

6.patadyong

7.tikling

8.formation

9.barong tagalog

10.leyte


18. 1. Who are the characters in the story? Describe each. _________________________________________________________________________ 2. What unique identity/traits of the characters are shown in the story? Ka Ponso- _____________ Fathe/Julior- ________________ Jose- __________________ 3. How did Julio show his love to Jose?__________________________________________ 4. If you are in ka Ponso’s shoes, What will you do? Why and why not? _________________________________________________________________________ 5. How can you make others happy in your own way?_______________________________ The Happiest Boy in the World by: NVM Gonzalez Julio, who had come from Tables to settle in Barok, was writing a letter to, of all people, ka Ponso, his landlord, one warm June night. It was about his son, Jose, who wanted to go to school in Mansalay that year. Jose was in the fifth grade when Julio and his family had left Tablas the year before and migrated to Mindoro. Because the father had to stop schooling for a year. As it was, Julio though himself lucky enough to have ka Ponso to take him as tenant. Later when Julio’s wife, Fidela, gave birth to a baby. Ka Ponso, who happened to be visiting his property then, offered to become its godfather. After that they began to call each other compadre. "Dear Compadre,"Julio started to write in Tagalog bending earnestly over a piece of paper which he had torn out of Jose's notebook. It was many months ago when, just as now, he had sat down with a writing implement in his hand. That was when he had gone to the municipio in Mansalay to file a homestead application, and he had used a pen, and to his great surprise filled in the blank forms neatly. Nothing came of the application and talked with the officials concerned. Now, with a pencil instead of a pen to write with, Julio was sure that he could make his letter legible enough for Ka Ponso. "It's about my boy Jose, "he wrote on. "I want him to study this June in Mansalay. He's in the sixth grade now, and since he's quite a poor hand at looking after your carabaos, I thought it would be best that he goes to school in the town." He sat back and learned against the wall. He had been writing on a low wooden bench, the sole piece of furniture in the one-room house. There he sat in one corner. A little way across stood the stove; to his right Fidela and the baby girl, Felipa lay under the hempen mosquito net. Jose, who had been out all afternoon looking for one of Ka Ponso's carabaos that he had strayed away to the newly planted rice clearings along the other side of the Barok river, was here too, sprawing beside a sack of palay by the doorway. He snored lightly, like a tired youth; but he was only twelve. The kerosene lamp's yellow flame flickered ceaselessly. The dank smell of food, of fish broth particularly, that had been spilled from many a bowl and had dried on the floor seemed to rise from the very texture of the wood itself. The sad truth about their poverty, if Julio’s nature had been sensitive to it, might have struck him with a hard and sudden blow then; but as it was, he just looked about the room, even as the smell assailed his nostrils, and stared now at the mosquito net, now at Jose as he lay there by the door. Then he continued with his letter. "This boy, Jose, compadre,"he went on, "is quite an industrious lad. If you can only let him stay in your big house. Compadre, you can make him do anything you wish-any work. He can cook rice, and I'm sure he'll do well washing dishes." Julio recalled his last visit to ka Ponso's about three months ago, during the fiesta. he had seen that it was a big house with many servants; the floor was so polished you could almost see your own image under your feet as you walked; and always there was a servant who followed you about with a piece of rag to wipe away the smudges of dirt which your feet had left on the floor. "I hope you will not think of his as great bother. "Julio continued, trying his best to phrase these thoughts. He had a vague far that ka Ponso might not favourably regard his letter. But he wrote on, slowly and steadily, stopping only to read what he had put down.


1. wise *

Agree or Disagree

2. inflexible *

Agree or Disagree

3. fair *

Agree or Disagree

4. open-minded

Agree or Disagree

5. heartless *

Agree orDisagree


Video Terkait

Kategori physical_education