EFFECTIVENESS OF VIDEO FILM AND CONVENTIONAL METHOD OF TEACHING FOLK DANCE ON GRADE SIX STUDENTS OF

CONSOLACION CENTRAL SCHOOL

A Research ProposalPresented to the faculty of

the College of Teacher Education

by

ABELLAR, CHERUBIM MONTALLA, VEBERLYN COMEROS, NINO ROLAND TRADIO, JAY ANN

YEE, PROSFE JUNE

ROSELLE JARDIN RANARIO, DPAResearch Adviser

October, 2010

TABLE OF CONTENTS (UPDATE PAGE)

CHAPTER I- THE PROBLEM AND ITS SCOPE PageINTRODUCTION

Rationale of the Study 1Theoretical Background 3

THE PROBLEMStatement of the Problem 6Statement of the Null Hypothesis 7Significance of the Study 7

CHAPTER II – REVIEW OF RELATED LITERATURE AND STUDIESReview of Related Literature and Studies 10

CHAPTER III - RESEARCH METHODOLOGYResearch Design 14Research Respondents 14Research Environment 14

Research Instrument15

Research ProceduresGathering of Data 15Treatment of Data 16

DEFINITION OF TERMS 18

BIBLIOGRAPHY 19

APPENDICESAppendix A Transmittal Letter to the Administrators 20Appendix B Transmittal Letter to the Non-English Major

Teachers 21Appendix C Transmittal Letter to the Foreign Students 22Appendix D IELTS 23Appendix E Assessment Test for Foreign Students 44Appendix F Teacher’s Evaluation Form 52

CURRICULUM VITAE 53

Chapter 1

THE PROBLEM AND ITS SCOPE

INTRODUCTION

Rationale of the Study

Folk dance is synonymous to primitive, tribal, or ethnic form of

dance. The term is used also to include characteristic national dances,

country dances, figure dances in costume to folk tunes (D.H. Tamburini

and M.D. Lidster, 1980).

Most Philippine dances were originally patterned after European

dances during the Spanish regime. “Pandanggo sa ilaw, Cariñosa,

Rigodon and Balitaw” are examples of these dances Filipinos are

known are known for. Aside from these Western-influenced dances,

ethnic-created dances such as “Tinikling” made its way to nationwide

recognition. Despite its apparent recognition to Western dances, still

Filipinos pay tribute to its cultural roots. Every district in the islands

has its own folkdance, interpreted attractively in festivals and local

shows, which have added to the country’s reputed contribution to

world’s illustration of traditional arts (Research in Music Education,

2006).

According to Theresa Purcell and Stephen Leonard Cone, in the

book Teaching Children Dance (2005), the dance is an essential

element of a high-quality, comprehensive physical education program.

It provides the necessary balance in a curriculum that is focused

primarily of functional movement. Children need to have the

opportunity to develop their abilities to use movement of both

functional land experience purposes. They should participate in a full

range of experiences to learn the many possibilities.

Since folkdance provides a necessary balance in a curriculum, a

problem in teaching folkdance surfaced. Most of the teachers are non-

physical education majors. There are only few teachers who specialize

in the field of physical education. Some of the teachers teaching

folkdance do not even know how to dance. Thus, teachers have a

difficulty to choose a method appropriate for the Grade six pupils to

teach folkdance.

Teaching is a dynamic process for it continually evolves to adapt

to times in which it is practiced. Through this evolution, a variety of

teaching strategies have been formulated to improve student learning.

Each strategy focuses on the different aspects of giving instruction and

how the recipient can optimize learning.

Video film offers a new and exciting approach in teaching. First is

that the image, with or without accompanying sound recordings, offers

restricted but powerful records of real–world, real-time actions and

events. This is true whether it is a single photograph or continuous

moving images. The second reason is that although social research is

typically in the service of complex theoretical and abstract questions, it

can use as primary data visual information that need not be in the

form either of written words or of numbers: analysis of the impact of

traffic on urban planning, patterns of playground bullying, election

campaigns, or teaching might all benefit from the use of visual data.

The third reason is that the world we live in is increasingly influenced

by communications media, whose outputs often depend on visual

elements. Thus ‘the visual’ and ‘the media’ play big parts in social,

political, and economic life. They have become ‘social facts’ in

Durkheim’s phrase. They cannot be ignored (Bauer and Gaskell, 2000)

Video has an obvious data recording function whenever some set

of human actions is complex and difficult for a single observer to

describe comprehensively while it unfolds. Any religious ritual or life-

stage ceremonial (such as wedding) might be a candidate, as might a

dance performance, a classroom teaching hour, or a craft activity.

There are no obvious limits to a range of human actions and narratives

that might be recorded, using image and sound together, on video

film. The researcher would then be faced with several tasks:

systematic viewing of the research corpus; the creation of a notational

system that was explicit about why certain actions or sequences of

actions are to be categorized in a particular way; and finally the

analytic ‘processing’ of the information captured (Bauer and Gaskell,

2000).

On the other hand, one of the oldest and still widely practiced

modes of instruction is the Conventional Method. Conventional

teaching introduces students to plenty of facts, concepts, and routines

from a discipline such as mathematics, English, or history. But it

typically does much less to awaken students to the way the discipline

works--how one justifies, explains, solves problems, and manages

inquiry within the discipline. Yet in just such patterns of thinking lie the

performances of understanding that make up what it is to understand

those facts, concepts, and routines in a rich and generative way.

Accordingly, the teacher teaching for understanding needs to

undertake an extended mission of explicit consciousness raising about

the structure and logic of the disciplines taught (Perkins, 1993).

With the emergence of new strategies in teaching, the

Conventional Method, however, has been widely criticized. It is said

that Conventional Method focuses on teaching, not learning. It

incorrectly assumes that for every ounce of teaching there is an ounce

of learning by those who are taught (Ackoff and Greenberg, 2008).

John D. Bransford and James W. Pellegrino of the Commission on

Behavioral, Social Sciences and Education and National Research

Council (1998) said that strategies are most successful and effective

when they are applied in positive, supportive environments where

there is recognition of the emotional, social and physical needs of

students and where individual strengths are recognized, nurtured and

developed.

This study will therefore delve into finding the effectiveness of

teaching English to Grade six students in Consolacion Central School

through the use of Conventional Method in comparison to Video Film.

The researchers aims to determine a modified Teaching and Learning

Strategy as an effective resource for teachers and students focusing on

improved academic achievement and striving to meet new academic

standards.

Theoretical Background

Physical activities can provide a central point of interest and

application for knowledge and understanding and may, therefore, be of

great value as a focus for interdisciplinary studies (Andrews, 1979 as

cited by Macfadyen, 2005).

Following the development of instruments for the systematic

observation, researchers became involved in a whole line of teacher

effectiveness studies. This approach was an improvement over earlier

attempts that relied on high-inference scales of teacher effectiveness,

but the results were mixed and thus disappointing to both researchers

and teacher educators. One popular technique was a correlational

design in which various teacher behaviours (process) were correlated

with student achievement (product). The process product model was

based on the premise that the rule-following teaching, which means

exhibiting the teacher actions identified by research, would improve

student learning. Although the early process-product studies (Oliver,

1980, as cited by Silverman, S. 2003) helped to define physical

education pedagogy as important focus on research, the research

provide conflicting conclusions about the links between teacher

behaviour and variations in student learning.

Just as the process-product research program got underway,

critics began to direct attention to its weaknesses. First, although some

teacher behaviours might be associated with student achievement, the

correlations were usually low and not always significant. A more

serious concern seemed to be the difficulty in explaining the reasons

for the relationships between teacher behaviour and achievement

(Brophy & Good, 1986 as cited by Silverman 2003). Thus, just as the

teacher behaviour research was gaining momentum in the late 70’s

and early 80’s a student-mediating paradigm was offered as an

alternative. Based on a belief that attention to the immediate

responses of students would provide better estimates of the effects of

teaching (Schulman, 1986 as cited by Silverman 2003), the observable

activities of the learners during class became viewed as mediators of

instruction. Using concepts from the work of Carroll, 1963; Bloom,

1974) student engaged time became the variable of interest. Initial

research efforts using time as a student-mediating variable in

pedagogical were found in the Beginning Teacher Evaluation Study

(BTES) by Fisher, et. al. in 1978. These researchers theorized that the

amount of time a student was the crucial variable underlying

successful teaching. Thus, within this modified process-product

framework the variable identified as academic learning time (ALT) was

accepted as the variable linking measures of teacher behaviour

student learning (Silverman, 2003).

As a subject matter in physical education, folk dance has become

an interest for many of the researchers (Andrews, 1979 cited by

Macfadyen, 2005).

Folk dances express the ties of the individual to a community, so

they are important for immigrant children to know of their roots; at the

same time, the dances express “mass feeling” and bring about a

“conscience of the whole”.

Like culture, the forms, patterns, and functions of folk dance

vary. The dances can be done with or without partners; in circles,

squares, or long lines; in threesome, foursomes or alone. As a means

of expression, dances such as wedding dances, war dances, contest

dances, courtship dances, work dances, religious dances, and special

holiday dances have been created.

Folk dancing is very social and recreational in nature. Each

dancer is a member of a larger group, and dancers change partners

frequently during many of the dances, promoting communication

between people who might otherwise be too timid. Folk dancing helps

to develop rhythmic movements, neuromuscular coordination, balance

and poise. It is a challenge to learn new skills, and dance allows

participants, regardless of their ages, the satisfaction of both

achievement and acceptance.

The folkdance experience involves more than performing the

steps correctly. It is an opportunity to develop a better understanding

of the customs and traditions of other cultures through a

nonjudgmental curiosity, and discover that dance can be a common

bound between people of all nations. Folk dance is an expression of the

human spirit.

Teaching folk dance is very challenging, even more when the

receivers of the concept are children. Also, the method of teaching folk

dance effectively to students is a big challenge among teachers. The

concept requires specialized training for teachers to efficiently execute

for the consumption of the learners (Hoerburger 1968, as cited in Jstor

2001).

As a dance educator, one is considered to be multitalented. One

must first gain competency as a dancer, master skills and develop

technique and knowledge of one or more dance forms. As skill

improves, styles are then developed and acquired in performing the

dance forms (Kassing & Mary Jay, 2003).

There are many sophisticated studies contributing to the

understanding of how children learn and develop although not

conducted under robust experimental procedures contribute innovative

practices and supply resources for instructional needs (Klemish, 1980).

Psychologist Jerome Bruner (1983) suggests that action, play and

movement constitute the ‘culture of childhood’. The challenge that

teachers or students face may be minimized for it is through

movement that children learn about themselves; their bodies and their

environment, and movement based activities can create a learning

environment that is enabling and fun (Bailey, 1999, as cited by

Macfadyen, 2005).

The influence of Piaget’s theory of conservation is noted as

“Conservation in musical learning refers to the ability of an individual

to retain the invariant quality . . . of a music stimulus in spite of

variations in its presentation”. It is mentioned that indications of true

reversible thought have been noted as early as age seven, with the

change from concrete to formal operational thought occurring at about

seventh grade. Most children possess a more highly developed concept

of loudness than of pitch and this develops at an earlier age than

concepts of pitch or duration. Apparently conservation cannot be

enhanced by special instruction unless the concept is already

accessible (1973 as cited by Klemish, 1980).

Moreover, an important skill in maintaining a purposeful learning

environment includes monitoring pupils’ involvement in the planned

activities, and correcting them when they depart from them. All pupils,

from time to time, are likely to be distracted from a task and, of

course, some are liable to do this than others. Some may have become

“competent bystanders”, they may appear to be fully engaged in an

activity but in fact they are subtly avoiding participation (Bailey, 1999,

as cited by Macfadyen, 2005).

It is truism that the more time learners participate in a learning

experience, the more opportunities they have to learn. Some writers

use the phrase ‘Academic Learning Time’ (ALT) which is the amount of

time a student spends on an academic task he/she can perform with

high success (Bailey, 1999, as cited by Macfadyen, 2005 ).

Early in the 20th century, philosopher John Dewey’s work was

seminal to the development of dance education in academic settings.

Although Dewey did not address dance directly, his prolific writing and

teaching at Columbia University, Teachers College, were nonetheless,

pivotal in preparing school systems to offer dance for all children. He

believed that children learn by doing, that “action is the test of

comprehension”, and that physical health promotes mental activity

(1915). Opposing the Static, factory model of education requiring note

learning that had evolved, Dewey proposed child-centred education

(1913, 1915 as cited by Hanna, 1999).

On the other hand, the invention of film and video technology

has had a profound impact on dance: on access to it, and on the

creation, understanding and appreciation of it. For the first time, we

could see dance across boundaries of race, class, and geography, a

dissemination process critical to the development of the field. Dance

did not (and still does not) have a practical notation system;

consequently, recording on film and video provided the first practical

means of documentation. Dancers use cameras as research tools, to

study technique, to review and analyze choreography, and to build

performance skills. The ethnologist, who previously relied on written

and photographic accounts, is able to capture moving images of dance

in cultural contexts, providing a valuable tool for research. Film and

video have spawned entirely new forms of dance, created when

director and choreographer go beyond the constraints of the body and

find new ways to capture human motion. Whether documentation, a

study aid, or a creative medium, the recorded moving image has

forever changed the way. We perceive and experience dance (Mitoma,

2002).

What the process of mystification (Mitoma, 2002) does is to stop

individuals making their own readings of works of art, and use them to

help to define our experiences more precisely in areas where words

are in adequate. (Seeing comes before words). Not only personal

experience, but also the essential historical experience of our relation

to the past: that is to say the experience of seeking to give meaning to

our lives; of trying to understand the history of which we can become

the active agents.

Folk dance enthusiasts embraced folk dancing as a critical

element in educational reform and as integral to the development of

physical culture for building the race.

VIDEO FILM CONVENTIONAL METHOD

Teachers level of Competency

Child - Centered Education/ Recorded Moving Process of Process – Product Student – Mediating Factory Model ofStudent – Centered Learning Image Mystification Model Paradigm Education

Academic Learning Piaget’s Theory Movement based Time of Conservation Activities

INSTRUCTION

POST TEST

EFFECTIVENESS

ENHANCE FOLK DANCE PERFORMANCE

Figure 1 Theoretical /Conceptual Framework

Statement of the Problem

This study will determine the effectiveness of video film and

conventional method of teaching folk dance on the grade six students

of Consolacion Central School.

Specifically, the following queries will be sought:

1. What is the profile of the grade six students in terms of:

1.1 age;

1.2 gender;

1.3 recent academic performance in P.E.;

1.4 interest in folk dance;

1.5 students activity before practice;

1.6 preferred time of day to learn folk dance;

1.7 place with longest time of residency?

2. What is the level of performance of grade six students exposed

to video film in terms of:

2.1 age;

2.2 gender;

2.3 recent academic performance in P.E.;

2.4 interest in folk dance;

2.5 students activity before practice;

2.6 preferred time of day to learn folk dance;

2.7 place with longest time of residency?

3. What is the level of performance of grade six students exposed

to conventional method of teaching in terms of:

3.1 age;

3.2 gender;

3.3 recent academic performance in P.E.;

3.4 interest in folk dance;

3.5 students activity before practice;

3.6 preferred time of day to learn folk dance;

3.7 place with longest time of residency?

4. What is the level of performance of grade six students exposed

to:

a. Video film;

b. Conventional method of teaching?

5. re a significant relationship between the profile of grade six

students exposed to:

a. Video film;

b. Conventional method of teaching;

6. Is there a significant difference between the level of performance

of grade six students exposed to:

a. Video film;

b. Conventional method of teaching?

Please follow this sample problem--

Specifically, answers to the following queries will be

sought:

1. What is the profile of students in the aspect of:

1.1 age;

1.2 gender;

1.3 third grading academic performance in

Mathematics ?

2. What is the pre-test and post test scores of:

2.1 control group (not exposed to remedial classes);

2.2 experimental group (exposed to remedial

classes)?

3. What is the mean gain score of the:

3.1 control group (not exposed to remedial classes)

3.2 experimental group (exposed to remedial classes)

4. Is there a significant difference between the

pre test and post test scores of students

exposed to

4.1 control group (not exposed to remedial classes);

4.2 experimental group ( exposed to remedial

classes)?

5. Is there a significant difference on the mean gain

scores of students in the control (not exposed to remedial

classes) and experimental group ( exposed to remedial

classes)?

Statement of the Null Hypothesis

There is no significant difference between the pre

test and post test scores of students exposed to control

group (not exposed to remedial classes) and

experimental group ( exposed to remedial classes).

There is no significant difference on the mean gain

scores of students in the control (not exposed to remedial

classes) and experimental group ( exposed to remedial

classes).

Significance of the Study

To the teachers, a more efficient procedure of teaching folk

dance will be sought, thus limiting the money, time and effort put up to

impart the knowledge to the students.

To the students, learning in the least time possible will be

achieved and attain the optimum potential for learning through the

medium introduced.

To the school principal and administrators, a better and

more efficient approach in teaching folk dance will be achieved and a

more budget-friendly course.

To the community, a greater awareness and preservation of our

cultural history through the folk dance is realized.

To the Department of Education, the research may improve

the current approach in teaching folk dances and may someday be the

vessel to market the Philippines as a prime tourist spot due to its

heavy cultural appeal inspired by the various Filipino folk dance.

To the Cultural Advocates, another means of disseminating

and presenting cultural treasures, primarily the folk dances will be in

their disposal thus helping in their cause.

To the Performing Arts Majors, a wonderful and exciting new

way of imparting knowledge and skills in the field of performing arts

will be sought and thereby improving the effectiveness of the teaching

methods currently used.

To the future researchers, that this study may be a stepping

stone in the future researches that may be done in relation to the

performing arts, folk dances, video films and the conventional method

of teaching.

CHAPTER II

REVIEW OF RELATED LITERATURE AND STUDIES

Today digital multimedia technology is widely used in various

aspects of society, such as: entertainment; education; industry;

commerce; trading; government office work; transportation; and

communication.

According to Yingliang (2005), most students want to learn and

often ask what is the best way they can learn. That means students do

want to know something more about the course and are eager to learn

the knowledge. The other question was how to do it. That means

students want to have the ability to do things. This ability is not in

isolation and includes the abilities of communication, research, data

collecting, analyzing, problem solving and so on.

As a teacher, we should teach the students knowledge and skills.

The problem is how we teach them.

Traditionally, students are given lectures, experiments,

assignments and consultations and finally an examination, usually a

closed-book examination. All these things are designed by the teacher.

If somebody does not wish to learn something, you cannot teach her/

him anything. If somebody really wants to learn something, however,

she/ he will learn it anyway (King, 2005).

Certainly there are different teaching methods for different

people. So our responsibility is to provide some knowledge and

appropriate methods for the students to learn, and provide

opportunities for the students to enhance their abilities which are

useful in the future.

From the point of view of student-centered teaching, we are

guided by what is best for the students. Making decisions regarding

content organization and teaching approaches is largely determined by

the students’ needs. Even assessment may be influenced or

determined by the students. Students are the centre and the teacher

acts as a coach and facilitator. In many respects, the goal of this type

of teaching is the development of the students’ cognitive abilities

(Lara, 2005).

Student-centered teaching leads to ‘better retention, better

transfer of knowledge to other situations, better motivation for further

learning, and better problem solving abilities. Active participation by

students helps them construct a better framework from which to

generalize their knowledge (Lara, 2005).

However, teaching dance in a primary school can be a stressful

situation if an instructor is a trainee or even an experienced class

teacher, especially if there is lack of confidence or there is no in depth

comprehension on what to teach. Many primary teachers lack both the

confidence and subject knowledge to teach dance. This has been

evidenced by the demand for in-service training. Resources such as

TOP Dance, developed by the Youth Sport Trust, have been requested

nationally through the National Professional Development Programme

(Lavin, 2008).

Study involving trainee teachers’ perceptions of teaching dance

in primary schools by Rolfe and Chedzoy in 1997 revealed that there

were a lot of inexperienced role models in schools that students might

imitate. What emerged from student interviews ‘was a low level of

perceived teacher confidence and subject knowledge in teaching

dance’ (Rolfe and Chedzoy 1997, as cited by Lavin 2008).

According to a journal by Svea Becker (1993), because of the

elusive nature of dance, students are often discouraged by the

difficulty of remembering and describing choreography. This problem

can be partially corrected by using videotape. If their work is taped, or

transferred from film to videotape, choreographers' styles may be

studied by using video as literature. Hollywood musicals primarily used

easily understood dance forms--jazz, tap, and ballroom. This popular

art can be useful to dance educators.

Further varied studies have been developed in the

conceptualization of teaching folk dance.

A study on the assessment of the efficacy of a video-assisted

teaching program on the knowledge of undergraduate students

indicated that video-assisted teaching might be an effective means of

promoting persistent knowledge among students. Therefore, this

method can be suggested for academic educations (Maleki, et.al.,

1990)

A study of the relationships between Teacher Behaviors and

Student Performance on a Spatial Kinesthetic Awareness test has been

made and the analysis tells the researcher what the instructor is doing

in the classroom. Such investigations provide no information about

student learning and how such learning can be related to specific

teaching strategies. Studies concerned with the effect of teaching

behaviors on students’ ability to learn dance movement skills are

varied in approach and results. Several early studies were concerned

with the effectiveness of films and television used as visual aides to

teach various forms of dance (Allen,1968 and Bennet, 1970, as cited

by Minton and McGill, 1998).

Diverse researches on folk dance and traditional dances have

been cited by Erik Aschengreen and Henning Urup on their Dance

Research Journal (1995). To mention a few, a work by Danish Folklore

Archives in the area of dance research is primarily the documentation

of dance in video supplemented by audiotape recordings. Since 1979,

video and sound recording have become an integral part of the field

research activities of the Danish Folklore Archives. The focus of this

work is to document dance as part of an uninterrupted tradition in

various social contexts, where the presence of active musicians has

been a precondition for the preservation of the local dance tradition.

Another research project was focused on “clapping-songs” and on song

dances and games as performed at meetings of the Indre Mission, in

school yards and elsewhere (Nielsen 1981, and 1984, with a total of

twenty-five videotapes).

The amount of time the instructors spent on teaching folk dance

is an important factor. The journal on Relationship between the

Undergraduate Music Methods Class Curriculum and the Use of Music

in the Classrooms of In-Service Elementary Teachers Journal of

Research in Music Education (Winter, 2003) was conducted to

determine which experiences in undergraduate elementary music

methods curricula were the strongest predictors of the amount of time

elementary classroom teachers used music weekly in their classrooms.

Of the three variable cluster groupings, two (folk dances, singing

games, movements; integrating music with academic subjects;

creating songs, rhythms, movements and teaching lessons on musical

concepts) were found to contribute uniquely to the definition of the

discriminant function.

Moreover, a related study on teaching and video filming was on

the use of aerosol dozers through a randomized evaluation of two

teaching methods (Lirsac and Braunstein, 1991). The aim of the study

was to assess and compare 2 educational methods of inhalation: a

standardized inhalation card and a video film. The study suggests the

value of education of these patients and the superiority of video

education in relation to reading a standardized card in the optimization

of treatment administered by the inhaled route.

As mentioned by Felix Hoerburger (1968, as cited in Jstor 2001)

in his book “Once again: on the concept of folk dance”, the author

expresses the importance of teaching folk dance to students. It can be

justified because its first existence is chiefly an integral part of the life

of a community. It has an important function in the community. And to

take it away from it is essentially to damage the life of the community.

In addition, there is a theoretical and practical justification for

the inclusion of creative dance in the elementary school curriculum.

Using findings of a study in which the effects of six creative-dance

workshops on elementary school teachers' attitudes to and practices of

creative dance. The study found that teacher’ attitudes and practices

changed as a result of the workshops and that children enjoy and

benefit from creative-dance activities. Teachers' reflections on their

experiences show that creative dance has a vital role in the

elementary school curriculum and illustrate the close relationship

between theoretical and practical aspects of creative dance (Mac

Donald, 1991).

In teaching and learning, several different theories can be used:

behaviourist; developmentalist; constructivist; lifelong learning;

student-centered learning; and so on. To some extent, they are all

right. Each has its strengths. There can also be different approaches,

and each approach also has its advantages. A single approach may not

be suitable for every course, every topic and all the content (Duch,

2004).

The teaching responsibility is to make the content and process

more interesting and more attractive to help develop the students’

various skills, knowledge and for survival.

CHAPTER III

RESEARCH METHODOLOGY

Research Design

The experimental method of research will be used in this study.

This study will determine the effectiveness of video film and

conventional method of teaching folk dance. It is a performance study

with adequate and accurate interpretation of the findings.

Research Respondents

The respondents of this study will be the (how many) randomly

selected seventy-two students of Consolacion Central School. Thirty–

six students of which will be the participants of conventional method

and the other thirty-six students will be in video film group. The

researcher will focus on the performance of the students exposed to

video film and conventional method of teaching.

Research Environment

This study will be conducted in Consolacion Central School. The

place has a hall that is enough for the students to learn how to dance.

Describe further

Research Instrument

The study will use the following research tools in gathering data.

Research-made questionnaire will be given to the

students/participants to acquire their profile.

Rubric Score for Dance Performance will be used in rating

the level of performance of the students. Based on who?

Describe the content of the tools..scoring method?

Research Procedure

Data Gathering

The Research Team will write a letter to the principal of our

chosen locale which is Consolacion Central School. The group chose

this locale due to its accessibility since one member of the research

team is a faculty in the institution.

The researchers prepared a set of questions that the participants

will answer. The answers of these questionnaires will be used to

provide the profile of the participants.

The researchers will request a copy of the recent academic

performance of the grade six students in Physical Education from their

adviser. The researchers obtained a copy of “Rubric for Scoring Dance

Performance Evaluation”, a standardized 5-point Likert scale tool to be

used for evaluation in rating the performance level of the students.

The researchers consulted a P.E. Major and expert for the

validation and review of the questionnaire to be used in evaluation of

the dance performance of the test group. Specific revisions will be

made if there is a need to do so.

If approved, the questionnaire will undergo a mock evaluation

wherein it will be tested to a random sample group of elementary

students who will not be part of the test group. Specific revisions will

be made if there is a need to do so.

Sampling Procedure

- The test group of the experimental study were the randomly

selected grade six students from Consolacion Central Scool. The test

group were randomly selected through simple random sampling,

where each individual has the same probability of being chosen at any

stage during the sampling process. The total population of 450 grade

six students (nine sections with 50 students each) will have an equal

opportunity to be randomly selected as the sample population to

represent the parent population. The sample population of 72

individuals, where 8 students were randomly selected through fish

bowl method for each of the nine sections, are divided into two groups

of 36 students to be exposed to the tests.

The randomly selected first group of 36 students will be exposed

to the video film test. A demonstration of the “Aray” dance video and

will be given 55 minutes for practice. The randomly seleted second

group of 36 students will be subjected to the conventional method

which will take a teacher to teach the students the appropriate

movements needed for the dance. These students will also be given 55

minutes to practice.

Return Demonstration

After the practice period, the students will be asked to

demonstrate individually what they have been demonstrated to do.

The performances will be rated using the Rubric Score for Dance

Performance Tool.

Treatment of Data (follow this format and formula)

The following statistical tool will be employed to determine the

following:

To determine the profile of the learning achievement on the

content and process skills of the first year students who were exposed

to remedial classes and not exposed to remedial classes, the students’

score of pre-test was compared with the range below.

To determine the mean difference of the learning achievement of

the content and process skills of the first year students who were

exposed to remedial classes and not exposed to remedial classes, both

pre-test and post-test, the T-test of mean difference was applied using

the following formula

t = x1 – x 2

(SD1)2 + (SD2)2

N1 N2

Where:t – t – test valuex1 - mean of the control groupx2 - mean of the experimental groupSD1 - standard deviation of the control groupSD2 - standard deviation of the experimental groupN1 - number of cases of the control groupN2 - number of cases of the experimental group

To determine whether there was a significant mean gain

and mean gain difference of the learning achievement of the

content and process skills of the first year students who were

exposed to remedial classes and not exposed to remedial

classes, the t – test mean gain for independent samples will be

used.

Formula: t = (X1-X2)-do

(n1-1)S1²+(n2-1)S2² 1 + 1

[n1+n2-2] n1 n2

With n1+n2-2 degrees of freedom

Where:t = computed the value of t-test statistics

= obtained difference between sample mean = assumed difference between population means

DEFINITION OF TERMS

For better understanding of the study, the following terms are defined

operationally:

(ALT) ACADEMIC LEARNING TIME is the amount of time a

student spends on an academic task he/she can perform with high

success.

ACADEMIC PERFORMANCE it refers to a grade of a student in (MSEP)

Musika, Sining, at Edukasyong Pampalakas.

ARAY It is the title of the folkdance we chose to present to the

students. (From the Tagalog equivalent of “ouch”) it is another

Filipinized version of the famous Spanish Aragonese dance Jota. It is a

flirtatious dance in which a pañuelo (triangular kerchief wrapped

around the shoulder and tucked in front) and beribboned panderetas

(jingled tambourines) are handled gracefully.

CONVENTIONAL METHOD OF TEACHING FOLKDANCE is a

method in which a teacher explains and performs steps and figures of

folkdance in front of the students to let the students follow and

understand.

FOLKDANCE is a traditional dance originating among the

common people of a nation or region.

LEVEL OF PERFORMANCE is a degree of presentation of steps

performed by the students. It measures the motor and fine motor skills

coordination.

METHOD OF DANCING is a systematic way of dancing. It is

giving proper and correct procedures of dance figures or dance steps.

PROFILE refers to the pertinent information participants of the

study, the Grade Six students whoare in Consolacion Central School in

terms of age, gender, Recent academic performance in P.E., Interest

in folk dance, Students activity before practice, Preferred time of day

to learn folk dance, Place with longest time of residency.

VIDEO FILM METHOD is a method of teaching dance steps

using technologies such as DVD player (Digital Video Device), TV

(Televison set), CD (Compact Disc). The steps of folkdance “Aray” is

saved in the compact disc as a storage device, played in the DVD

player and presented in the television. The steps can be seen and

music can be heard using the television and speakers. The steps

presented in the are the steps ought to be followed by the students.

BIBLIOGRAPHY

Refer to correct APA format

LABEL THEM PROPERLY

BOOKS

JOURNALS

INTERNET

(2001). “Once again: on the concept of folk dance” by Felix Hoerburger, 1968. Retrieved from http://www.jstor.org/stable/1467449

(2006). Training Teachers with Little or No Music Background: Too Little, Too Late?. Update: Applications of Research in Music Education, 24: 14-22.

Ackoff, R.L. & Greenberg, D. (2008). Turning Learning Right Side Up: Putting ducation Back on Track. Retrieved October 16, 2009.

Aschengreen, E. & Urup, H. (1995). Dance Research in Denmark. Dance

Research Journal, 27, 73-75. Retrieved from http://www.jstor.org/stable/1478447.

Bauer, M.W. & Gaskell, G. (2000). Qualitative researching with text, image

and sound: a practical handbook.

Beck, R. H. (2009). The Three R's Plus: What Today's Schools are Trying to

Do and Why. University of Minnesota Press.

Becker, S. (1993). Understanding Choreographic Style through Video as

Literature. JOPERD--The Journal of Physical Education, Recreation & Dance, 64.

Bransford, J.D. & Pellegrino, J.W. (1998). Problem-Based Learning: An Introduction. The National Teaching and Learning Forum, 8, 1, Retrieved from http://www.ntlf.com/html/pi/9812/pbl_1.htm.

Dewey, John. (1938). Experience and education. Kappa Delta Pi.

Duch, B. (2004). Problem-based Learning. University of Delaware. Retrieved

from http://www.udel.edu/pbl/.Greenberg, H. (1987). “The Silent Factor,” The Sudbury Valley School

Experience. Retrieved October 16, 2009.

Hanna, J.L. (1999). Partnering Dance Education: Intelligent Moves for Changing Times. U.S.A. United Graphics.

Harrell, J., et.al. (1997). Leisure Time Activities of Elementary School Children. Nursing Research, 46, 246-253.

Kassing, G. & Danielle, M.J. (2003). Dance Teaching Methods and Curriculum Design. U.S.A.

King, M. (2005). Lecture Notes: Teaching Science in English. The University

of Sydney.

Klemish, J. (1980). A Review of Recent Research in Elementary Music Education. Bulletin of the Council for Research in Music

Education, 34, 23-40. Retrieved from http://www.jstor.org/stable/40317293.

Lara, V. (2005). Professional Development Module: Student-Centered Teaching. Texas Collaborative for Teaching Excellence, Retrieved

from http://www.texascollaborative.org/

stdtcenteredteach.htm#section1.

Lavin, J. (2008). Creative Approaches to physical education: helping children

to achieve their full potential. Park Square, Milton Park, Abingdon,

Oxon. Routlegde imprint by taylor and Francis Group.

Lidster, M.D. & Tamburini, D.H. (1980). Folkdance Progressions. 2nd

Edition.

Lirsac, B. & Braunstein G. (1991). Randomized evaluation of two teaching

methods using aerosol dosers. Centre de Pneumologie de Perpignan, 8 (6), 559-65.

Mac Donald, C. J. (1991). Canadian Society for the Study of Education.

Macfadyen, T. & Bailey, R. (2005). Teaching Physical Education.MPG Digital

Solutions. Cornwall Great Britain. Bodmin.

Maleki, Z. & Mahdian. (1990). Shahid Beheshti University of Medical Sciences. Tehran, Iran. Retrieved from http://iadr.confex.com/iadr/iran09/preliminaryprogram/abstract_140951.htm.

McCutchen, B. P. (2010). Teaching Dance as art in Education. U.S.A. Sheridan Books.

Minton, S. & McGill, K. (1998). A Study of the Relationships between Teacher Behaviors and Student Performance on a Spatial

Kinesthetic Awareness Test. Dance Research Journal, 30,2, 39-52. Retrieved from http://www.jstor.org/stable/1478837.

Mitoma, J., et. al. (2002). Envisioning Dance on Film and Video. Routledge.

Mitra, S. (2007). Sugata Mitra shows how kids teach themselves (video –

20:59). Retrieved October 16, 2009.

Perkins, D. (1993). The Professional Journal of the American Federation of

Teachers, 17, 8, 28-35.

Philippine Folk Dance. art 229. Retrieved from

http://www.camerspoint.com/spip.php.

Purcell, T. & Cone, L. (2005). Teaching Children Dance. p. 7. Retrieved from

http://www.amazon.com/dp/0736050906.

Silverman, S. J., et.al. (2003). Student's Learning in Physical Education: Applying Research to Enhance Instruction. Sheridan Books U.S.A.

Walkowitz, D. J. (2010). City Folk: English Country Dance and the Politics of

the Folk in Modern America. New York. New York University Press.

White, H.B. (1996). Dan Tries Problem-Based Learning: A Case Study. In

L.Richlin (Ed) To Improve the Academy, 15, 75-91. Retrieved from

http://www.udel.edu/pbl/dancase3.html.

Winter (2003). The Relationship between the Undergraduate Music Methods Class Curriculum and the Use of Music in the Classrooms of In-Service Elementary Teachers. Journal of Research in Music Education, 51, 316-329.

Woods, D. (1994). Problem-based learning: How to gain the most from PBL.

Ontario.

Yingliang, Z. (2005). Computer and Teaching Experiment Centre. Xi’ an Jiaotong University, Xi’ an 710049.

APPENDIX ATRANSMITTAL LETTER

September 16, 2010

Violeta A. GonzagaSchool PrincipalConcolacion Central School

Dear Madame:

Good Day. We are a group of graduate students from Cebu Normal University. We are currently conducting a research entitled “Effectiveness of Video film and Conventional Method of Teaching Folk Dance on Grade Six Students.”

As for our locale, we have chosen your institution, Consolacion Central School, since it offers a more convenient access due to the presence of one of our group mates in your teaching staff.

We humbly ask your good office to grant us permission to conduct our research to one of the grade six sections in your institution. We are hoping for a favorable response.

Thank you and God bless us all.

Respectfully yours,

The Research Team

CherubimAbellar; Nino Roland Comeros; VerbelynMontalla;Jay Ann Tradio;Prosfe June Yee

APPENDIX BQUESTIONNAIRE

(CONVENTIONAL METHOD)

CEBU NORMAL UNIVERSITYOSMENA BLVD., CEBU CITY

Dear Participant,

We are a group of graduate school students from Cebu Normal University. We are currently conducting a research entitled “Effectiveness of Video film and Conventional Method of Teaching Folk Dance on Grade Six Students.”

We have chosen the Consolacion Central School as part of our research locale and particularly the grade six students as the participants.

Your time and cooperation will be a big factor for the completion of our study. Rest assured that the information you will be providing us will be handled with utmost confidentiality.

Thank you so much for your support.The Research team

Instruction: As participants, you will be taught on how to perform one of the folk dance in the Philippines – the title of the dance is “Aray”, Filipinized version of the famous Spanish Aragonese dance

Jota. This is a 60-minute activity (5 minutes teacher demonstration showcasing the whole song and 55 minutes for practice). You will be required to perform a return demonstration after and it will be rated accordingly.

Before the session will begin, please fill up the questionnaire below with all sincerity. The information you will be providing us will be very useful for the success of this study.

Date: _________

Name:___________________________ Age: ______ Gender:__________

1. How much interested are you in learning folk dance? Please choose one.

Very interested ____ Interested ____Not very interested____ Not interested at all ____

2. What is your activity before this session? Please choose one.(from 1997 Research by Harrell, et.al., Leisure Time activities for Elementary School Children)

Studying ____ Playing video games ____ Doing homework ____Eating ____ Playing a sport ____ Dancing ____Watching TV____ Bicycling ____ Reading ____Others, please specify ____

3. What is your preferred time of day to learn folk dance? Please choose one.

Early dawn (2am – 6am) ____Morning (6am – 10am) ____Noon (10am – 2pm) ____Afternoon (2pm – 6pm) ____Evening (6pm – 10pm) ____

Late evening (10pm – 2am) ____

4. Where is the place that you had the longest time of residency? Please choose one.

Cebu City ____ Cebu Province ____Mandaue City ____ Others, please specify ____Lapu Lapu City ____Talisay City ____Toledo City ____Danao City ____

APPENDIX CQUESTIONNAIRE

(VIDEO FILM)

CEBU NORMAL UNIVERSITYOSMENA BLVD., CEBU CITY

Dear Participant,

We are a group of graduate school students from Cebu Normal University. We are currently conducting a research entitled “Effectiveness of Video film and Conventional Method of Teaching Folk Dance on Grade Six Students.”

We have chosen the Consolacion Central School as part of our research locale and particularly the grade six students as the participants.

Your time and cooperation will be a big factor for the completion of our study.

Thank you so much for your support.The Research team

Instruction: As participants, you will be taught on how to perform one of the folk dance in the Philippines – the title of the dance is “Aray”, Filipinized version of the famous Spanish Aragonese dance Jota. This is a 60-minute activity (5 minutes video film showcasing the whole song and 55 minutes for practice). You will be required to perform a return demonstration after and it will be rated accordingly.

Before the session will begin, please fill up the

questionnaire below with all sincerity. The information you will be providing us will be very useful for the success of this study.

Date: _________

Name:___________________________ Age: ______ Gender:__________

1. How much interested are you in learning folk dance? Please choose one.

Very interested ____ Interested ____Not very interested____ Not interested at all ____

2. What is your activity before this session? Please choose one.(from 1997 Research by Harrell, et.al., Leisure Time activities for Elementary School Children)

Studying ____ Playing video games ____ Doing homework ____Eating ____ Playing a sport ____ Dancing ____Watching TV____ Bicycling ____ Reading ____Others, please specify ____

3. What is your preferred time of day to learn folk dance? Please choose one.

Early dawn (2am – 6am) ____Morning (6am – 10am) ____Noon (10am – 2pm) ____Afternoon (2pm – 6pm) ____Evening (6pm – 10pm) ____Late evening (10pm – 2am) ____

4. Where is the place that you had the longest time of residency? Please choose one.

Cebu City ____ Cebu Province ____Mandaue City ____ Others, please specify ____Lapu Lapu City ____Talisay City ____Toledo City ____Danao City ____

APPENDIX DRubric for Scoring Dance Performance Evaluation

Student_______________________________________________________Grade_________Age_______Date________________

School District_________________________________________________Building_______________________________________

CRITERIA EMERGING(0 Points)

TYPICAL(1 Point each)

ABOVE AVERAGE(2 Points each)

SUPERIOR(3 Points each)

Memory and Recall in preparedperformance

Appears to have significant difficulty recalling or following choreography

Completes dance with some errors, appears to have some difficulty recalling or following choreography

Completes dance with few errors, generally appears to dance with focus and confidence

Completes dance with no obvious errors, appears to dance with focus and confidence

Memory and recall in otherperformance evaluation activities

Requires ongoing support or assistance to remember information and follow directions

Comprehends and remembers information and directions with some assistance

Comprehends and accurately remembers information and directions, some ability to dance in movement phrases

Quickly comprehends and accurately remembers information and directions, able to dance in movement phrases

Temporal awareness(Time/Rhythm) in preparedperformance

Unable to consistently match body movements with beat; appears to struggle to dance in rhythm

Able to consistently match body movements with beat

Able to consistently match body movements with beat, reflects beat/rhythm in whole body

Able to consistently match body movements with beat, reflects beat/rhythm in whole body; demonstrates keen sense of time and rhythm in performance

Temporal Awareness(Time/Rhythm) in otherperformance evaluation activities

Unable to consistently match body movements with beat; limited ability to repeat complex rhythmic patterns

Moves whole body to underlying beat; able to repeat complex rhythmic patterns with support or practice

Moves whole body to underlying beat when requested; repeats complex rhythmic patterns with few errors

Moves whole body to underlying beat when requested; repeats complex rhythmic patterns precisely; demonstrates keen sense of time and rhythm in performance

Body awareness and control inprepared performance

Demonstrates below average physical strength and flexibility

Demonstrates physical strength and flexibility typical of peers

Demonstrates above average physical strength and flexibility; Demonstrates above average balance and physical control

Demonstrates unusual physical strength and flexibility; Demonstrates unusually advanced balance and physical control

CRITERIA EMERGING(0 Points)

TYPICAL(1 Point each)

ABOVE AVERAGE(2 Points each)

SUPERIOR(3 Points each)

Body awareness and control inother performance evaluationactivities

Demonstrates below average physical strength and flexibility

Demonstrates physical strength and flexibility typical of peers

Demonstrates above average physical strength and flexibility; Demonstrates above average balance and physical control

Demonstrates unusual physical strength and flexibility; Demonstrates unusually advanced balance and physical control

Movement quality awareness inprepared performance

Demonstrates below average range of movement qualities (e.g. strong, gentle, bouncy, and swinging)

Demonstrates average range of movement qualities (e.g. strong, gentle, bouncy, and swinging)

Demonstrates wide range of movement qualities (e.g. strong, gentle, bouncy, and swinging); demonstrates ability to move with subtlety and intensity

Demonstrates unusually full range of movement qualities (e.g. strong, gentle, bouncy, and swinging); demonstrates unusual ability to move with subtlety and intensity

Movement quality awareness inother performance evaluationactivities

Demonstrates below average range of movement qualities (e.g. strong, gentle, bouncy, and swinging)

Demonstrates average range of movement qualities (e.g. strong, gentle, bouncy, and swinging)

Demonstrates wide range of movement qualities (e.g. strong, gentle, bouncy, and swinging); demonstrates ability to move with subtlety and intensity

Demonstrates unusually full range of movement qualities (e.g. strong, gentle, bouncy, and swinging); demonstrates unusual ability to move with subtlety and intensity

Expressiveness in preparedperformance

Demonstrates limited ability to communicate ideas and feelings through movement

Average ability to communicate ideas and feelings through movement

Above average ability to communicate ideas and feelings through movement

Advanced ability to communicate ideas and feelings through movement; dances with unusual expressiveness, intensity and subtlety

Expressiveness in otherperformance evaluation activities

Requires assistance to communicate ideas and feelings through movement

Average ability to communicate ideas and feelings through movement

Above average ability to communicate ideas and feelings through movement

Advanced ability to communicate ideas and feelings through movement;uses whole body to dancewith unusualexpressiveness, intensityand subtlety

EmergingTotal Points _________

TypicalTotal Points _________

Above AverageTotal Points _________

SuperiorTotal Points _________

Scoring: Total Points_______________Screening: 20-25Identification: 26-30 Rater’s Signature _________________________________________ Date __________

Rater’s Comments

APPENDIX E

TIME TABLE

PHASE OF RESEARCH ACTIVITY DATE

1. Conceptual Phase

a. Group meeting to discuss the research title

b. Define the main problem and specific problems

c. Search for related literature

09/16/10

09/16/10

09/16/10

2. Design and Planning Phase

a. Selecting the research design

b. Identifying the subject population

c. Constructing the methodology of the proposal.

d. Consolidating the data needed for the proposal

e. Presentation of the Proposal to the panel.

f. Making the necessary revisions to the research plan as suggested by the panel members and consultant.

09/17/10

09/17/10

09/18/10

09/20/10

3. Empirical Phase a. Submission of the Transmittal letter.

b. Identifying and dividing the sample population

c. Conducting the exposure to conventional method of

teachingd. Conducting the

exposure to the Video Film method.

e. Collecting the data using the research tool.

4. Analytic Phase a. Subjecting the collected data to the statistical treatment (t–test) by the statistician with the presence of the researchers.

b. Consolidating the data and analyzing the results

c. Interpreting the results

d. Brainstorming for the researchers’ suggestion for improvement and remarks.

5. Dissemination Phase

a. Organizing a conference for the communication of results to the persons involved in the study.

b. Presentation of the results to the public.

APPENDIX F

BUDGET SUMMARY

1. Supplies(bond papers, folders, drawing book, ballpens, etc.)₱ 200.00

2. Cost of Services

a. Computerization ₱ 800.00

b. Photocopy ₱ 225. 00

3. Video CD tape ₱ 250.00

4. Transportation ₱ 300.00

5. Token for the Principal ₱ 300.00

6. Snacks for the participants ₱ 720.00

TOTAL ₱2795.00

CURRICULUM VITAE

CHERUBIM MONTALBO ABELLARCambiohan, Casili, Consolacion Cebuchyttle2002@yahoo.com09157635366

PERSONAL DATA

Age : 24 Date of Birth : June 28, 1986Place of Birth : Cebu CityCivil Status : SingleHeight : 5’2Weight : 46 kgs.Religion : Roman CatholicCitizenship : FilipinoSkills : Computer Literate, Beads Working, Letter Cutting

Educational Qualification - (LET) Licensure Examination for Teachers – PASSED

EDUCATIONAL BACKGROUND

Master’s Degree Program - Masters in Education Major in Educational ManagementNumber of units earned - 30Cebu Normal University OsmeñaBlvd.,Cebu City

Masters in Education Major in Early ChildhoodNumber of units earned - 18Cebu Normal UniversityOsmeña Blvd., Cebu City

Tertiary - Bachelor in Elementary Education - EnglishUniversity of Cebu Sanciangko St., Cebu City2003-2007

Secondary - University of CebuSanciangko St., Cebu City1999-2003

Intermediate - Consolacion Central Elementary School

Pob. Occ., Consolacion Cebu1995-1999

Primary - Consolacion Central Elemenary SchoolPob. Occ. , ConsolacionCebu1992-1995

WORK EXPERIENCES PLACE DATE

Teacher/ Adviser Consolacion Central School June 2008 – DepEd Cebu Province presentPob. Occ. Consolacion Cebu

Part Time Sunny Hills, Talamban, January 2008English Tutor Cebu City - April 2009

Part Time La Citadella, Talamban August 2007 – English Tutor Cebu City January 8,2008 Grade 1 Teacher Saint Anthony Montessori May 2007 -

Learning Center March 2008High-way 77, Talamban,Cebu City

CWTS Facilitator University of Cebu June 2004 –Sancianko St., Cebu City March 2007

Doctors’ and University of Cebu (Clinic) November 2006Nurses’ Assistant Sanciangko St., Cebu City - April 2007

Clerk’s Assistant University of Cebu May 2005 - (College Registrar) November 2006Sanciangko St., Cebu City

Peer Facilitator University of Cebu November 2003(Guidance Office) - March 2004Sanciangko St., Cebu City

Office Assistant/ University of Cebu June 2000 – Checker (HS Principal’s Office) March 2003

Sanciangko St., Cebu City

AWARDS RECEIVED

AWARDS PLACE

Best Student Teacher University of Cebu College of Education Sanciaingko St., Cebu City

Loyalty Award University of Cebu College of Education Sanciangko St., Cebu City

Excellent in University of Cebu Communication Skills College of Education

Sanciangko St., Cebu City

Academic Honor University of Cebu College of Education Sanciangko St., Cebu City

Best Rebuttal Speaker University of Cebu – Banilad CampusInter-Campus Grand Debate Banilad, Cebu CityUC Main vs. UC Banilad

Best Speaker University of Cebu – Main CampusInter-departmental Debate Sanciangko St., CebuCityEducation vs. Criminology

Best Debater University of Cebu – Main CampusInter-departmental Debate Sanciangko St., CebuCityEducation vs. Criminology

Best Rebuttal Speaker University of Cebu – Main CampusInter-departmental Debate Sanciangko St., CebuCityEducation vs. Criminology

Best Rebuttal Speaker University of Cebu – Main CampusInter-departmental Debate Sanciangko St., CebuCityEducation vs. NursingSEMINARS/TRAINING

TITLE OF SEMINARS PLACE AND DATE HELDAnti-graft and Corruption DepEd, Ecotech Center

Prevention April 17, 2010

DOST Program for Board DOST, Region VII, Election Inspectors April 10-11, 2020

National Competency Based Consolacion, CebuTeacher Standards October 27-30, 2009

Workshop on Outdoor Consolacion, CebuLeadership November 7-9, 2008

Alternative Teaching University of CebuStategies Sanciangko St., Cebu City

March 16, 2007

Innovating Teaching Strategies University of CebuThrough Infusion Theatre Methods Sanciangko St., Cebu City

March 12, 2007

Pedagogical Paradigms University of CebuSanciangko St., Cebu CityMarch 9, 2007

Environmental Education University of CebuTraining Mambaling Campus

May 11-14, 2005

AFFILIATIONSNAME OF ORGANIZATION POSITION/INCLUSIVE DATE OF

MEMBERSHIP

Consolacion Public School SecretaryTeachers’ Association August 2010 – present

National Organization of Member Professional Teachers December 28, 2007 - present

Association of Working Working StudentScholars May 2004- May 2007Civic Welfare Training FacilitatorAnd Services June 2004 – March 2007

South Campus Debating Speaker/DebaterTeam August 2005- March 2007

University of Cebu Lector

Campus Ministry June 2006 –January 2007

Prolific Organization of TreasurerEnglish Majors June 2005 – November 2006

Peer Facilitatorship FacilitatorOrganization November 2003 –May 2004

CHARACTER REFERENCE

DR. ULYSSES B. APARECEDean – College of EducationUniversity of Cebu – Main CampusSanciangko St. Cebu City

DR. ARACELI P. VILLACARLOSChairperson – College of EducationUniversity of Cebu- Lapu-lapu – MandaueA.C. Cortes Avenue, Mandaue City

MS. ROSELLA A.VILLAHERMOSAPrincipal - Grade SchoolUniversity of CebuSanciangko St., Cebu City

MS. VIOLETA A.GONZAGAPrincipall II – DepEd ProvinceConsolacion Central SchoolPob. Occ. , Consolacion, Cebu

CURRICULUM VITAE

NIÑO ROLAND C. COMEROS, RN74-B San Miguel St., Cebu City

Contact Nos. (032) 232-88-97 / (+63) 927 469 3499PRC LICENSE NUMBER, Philippines: 0377602E mail add: jong_comeros@yahoo.com.ph /

drop931@yahoo.com

________________________________________________________________________

LICENSURE EXAMINATIONS TAKEN International English Language Testing System (IELTS) :PASSED

August, 2007 (BAND SCORE OF 8.0) Philippine Nurse Licensure Examination :PASSED

June 2005, PRC License Number: 0377602

WORK EXPERIENCE: Perpetual Succour Hospital Cebu Heart Institute : Sept 8, 2005 - present

- EMERGENCY ROOM UNIT (MEDICAL/SURGICAL/OB/PEDIATRIC CASES)

o Charge Nurse - July 2008 - present

o Charge Nurse Reliever - December 2006- July 2008

o IV Therapy Trainor/ Preceptor - November 2007- present

o Head Code Nurse - February 2007- September 2008

o IV therapy Nurse - November 2005- present

o Code Nurse - June 15, 2005- present

o Ambulance Nurse - Sept. 8, 2005 – July 2008

o Out-Patient Department Nurse - Sept. 2005 - present

o Staff Nurse - Sept 08, 2005- June 14, 2006

Perpetual Succour Hospital Cebu Heart Institute : Aug 14 - Sept 8, 2005- EMERGENCY ROOM UNIT (MEDICAL/SURGICAL/OB/PEDIATRIC CASES)

o Nurse Orientee

HOSPITAL : PERPETUAL SUCCOUR HOSPITAL in Gorordo Avenue, Cebu City, Cebu , Philippines, at present, is a 240-bed capacity, tertiary training and education facility, committed to the truest expression of Catholic values and is recognized for its tradition of medical innovation and leadership in various specialties. It has services such as an Emergency Department, OPD, Intensive Care Unit (Medical, Pediatric, Surgical, Telemetry), Hema-Oncology Unit, Kidney Service Center, CardioVascular Lab, OR, DRand other specialties.

UNIT ASSIGNMENT: EMERGENCY ROOM. It is fully airconditioned with 9 cubicles, each separated from one another

with an enclosure; has a nurses' station; 2 minor surgical rooms; piped in gases and suction; fully equipped to handle all emergencies.

OUT-PATIENT DEPARTMENT. It is arranged according to departments. It includes among others, Cardiology and Rehydration, Pediatrics, Obstetrics, HMO Management Center.

JOB DESCRIPTION: See attached document

EQUIPMENTS HANDLED:

o mechanical ventilator to assist breathing through an endotracheal tube or a tracheotomy opening; includes use of ambubag

o cardiac monitors including telemetry, external pacemakers, ecg machine and defibrillators;

o equipment for the constant monitoring of bodily functions such as CVP&arterial line;

o a web of intravenous lines such as central (IJV, subclavian and brachial) lineso feeding tubes : nasogastric, gastrostomy, salem sump and jejunostomy tubes o feeding pump (kangaroo pump) o suction pumps and gomco suctiono infusion pumps (triple and single), syringe pumpso glucometer, nebulizer, pulse oximeters, PCA (patient-controlled analgesia) pumps

LICENSES:

Driver’s license – non-professional Diploma- Bachelor of Science in Nursing Regular IV Training Program (ANSAP Accredited) Basic Life Support Advanced Cardiac Life Support

CERTIFICATES:

Best Code Nurse of the Year (2006) Maintaining Customer Loyalty Seminar - Nov. 2008 Regular IV Training Program for Nurses Resource Speaker and Preceptor

Perpetual Succour Hospital - Nov. 2007/ Feb.2008/ Dec.2008 Trainor’s training ( Leadership and Values Seminar) - Sept. 2006

Regular IV Training Program for Nurses - Nov 9-11,2005Perpetual Succour Hospital

Symposium on Career Options for the Nurses of Today - Mar. 5,2005Cebu Normal University, College of Nursing 301

Seminar on Nurses as Nurse Practitioner - Mar. 2005Cebu Normal University, AVR

Forum on Gerontologic Nursing: A-State-of-the-Art - Jul. 30, 2004Cebu Normal University, AVR

Seminar on Modes of Health Care Delivery - Jul. 2004Cebu Normal University, AVR

Seminar on career Options for Nurses - Mar. 2004Cebu Normal University, AVR

EDUCATIONAL BACKGROUND:

College : Cebu Normal UniversityOsmeña Boulevard, Cebu City2001-2005

Course : Bachelor of Science in Nursing

High School : Cebu City National Science High SchoolSalvador St., Labangon, Cebu City1997-2001

Elementary : Sacred Heart School for BoysGen. Maxilom Avenue, Cebu City1990-1997

PERSONAL DATA:Born on the 24th of November 1984, 24 years old, single, Filipino, Catholic, 169 cm in height, 57

kgs in weight and proficient in English, written and oral. An Avid sports fan and player in the field of ball sports like basketball, baseball, volleyball and sepak takraw, he became one of the four team leaders in the Perpetual Succour Hospital 55th Sports Fest.

PERTINENT NUMBERS:PRC License Number(RN) : 0377602IELTS Candidate Number : Philippine SSS number : 06 – 2547302 - 5Philippine TIN number : 251 – 327 - 944

CHARACTER REFERENCES:

1. Dr. Fleoy Ysmael, R.N., R.M.,M.N.RLE Chairman, Cebu Normal University, College of NursingOsmeña Boulevard, Cebu CityTel. No. 254-48-37 (CNU-College of Nursing)

2. Mr. Arlene F. Cabeliño, R.N.Headnurse, Perpetual Succour Hospital, Emergency Room UnitGorordo Avenue, Cebu CityTel. No. 2322161 (Perpetual Succour Hospital, Emergency Room)

3. Mrs. Cecilia Atamosa, R.N.Faculty, Cebu Normal University, College of NursingOsmeña Boulevard, Cebu CityTel. No. 254-48-37 (CNU-College of Nursing)

4. Dr. Oliver P. Cabanag, M.D.Pediatrician, Chong Hua Medical Arts CenterJ Llorente St., Cebu CityTel. No. 344-02-88 (residence)

CURRICULUM VITAE

Personal Data

Name: Veberlyn E. Montalla

Address: Phase 3 Block 17 Lot 34 Magnesium Street, Deca Homes Subd., Tungkil, Minglanilla, Cebu

Age: 31 years old

Gender: Female

Civil Status: Married

Religion: Roman Catholic

Nationality: Filipino

Educational Background

Graduate: Masters of Art in Education(MAEd)

Major: Early Childhood Education(ECE)

Cebu Normal University

Undergraduate: Bachelor of Elementary Education(BEEd)

Area of Concentration: Mathematics

Cebu Normal University

March, 2002

Secondary: Colawin National High school

Colawin, Argao, Cebu

March, 1996

Elementary: Lengigon Elementary School

Lengigon, Argao, Cebu

March, 1992

Work Experiences:

Preschool Teacher

Matilda L. Bradford Christian School

Osmeña Boulevard, Cebu City

June 2008- Present

Preschool Teacher

Saint Paul College Foundation Inc.

Bulacao Pardo, Cebu City

June 2006- March 2007

Elementary Teacher

Tabunok School of Learning

Tabunok, Talisay City, Cebu

June 2003- March 2006

CURRICULUM VITAE

JAY ANN K. TRADIO, RN40 – R Kintanar Compd., N Escario St., Camputhaw Cebu City

Contact Nos.: (032) 416 5419 / (+63) 917 733 0526PRC LICENSE NUMBER, Philippines: 0380084

E mail add: jayanntradio@yahoo.com.ph

CAREER OBJECTIVESTo be connected with an institution where my background, interest, and professional aptitude can be applied in any related field so that my knowledge will be expanded for future development.

LICENSURE EXAMINATIONS TAKEN Visa Screen Certificate : APPROVED

April, 2007 International English Language Testing System (IELTS) : PASSED

January, 2007 (BAND SCORE OF 7.0) National Council for Licensure Examination (NCLEX) : PASSED

September, 2006 (State of California) Philippine Nurse Licensure Examination : PASSED

June 2005, PRC License Number: 0380084

WORK EXPERIENCE: Cebu Doctor’s University Hospital :November 1, 2005 – PRESENT

INTENSIVE CORONARY CARE UNIT (ICCU) Staff Nurse-includes experience on Peritoneal Dialysis (start up and handling)

Cebu Doctor’s University Hospital :August 10, 2005 – Nov. 1, 2005MEDICAL – SURGICAL Staff Nurse

HOSPITAL: Cebu Doctor’s University Hospital in Osmeña Boulevard, Cebu City, Cebu Philippines is a 300 bed private hospital. It has services of a tertiary hospital such as an emergency department, cardiovascular center, acute stroke unit (ICCU), pediatric intensive care unit, dialysis center, hematology/oncology unit and other specialties.

Unit Assignment: Intensive Coronary Care Unit has 8 beds with 1:1 nurse-patient ratio. The unit handles mixed adult cases like trauma, surgical, oncology, obstetrics and medical admissions. Criteria for patients to be admitted at the ICCU:

Critically ill patients in a medically unstable state who require an intensive level of care (monitoring and treatment).

Patients for observation after surgery who require special requirements for monitoring. These patients may have catheters placed to detect hemodynamic (blood pressure) changes, or require endotracheal intubation to help their breathing, with the breathing tube connected to a mechanical ventilator.

Job Description: Plans for a total Nursing Care of a critically ill patient, includes clinical assessment, diagnosis,

and an individualized plan of expected treatment outcomes for each patient (implementation of treatment and patient evaluation of results)

Give skilled intensive nursing care to a patient according to their individual needs Alertness in rendering cardiopulmonary resuscitation especially to emergency situation like

Code 99 or Code 88 Makes continuous assessment of the patient’s condition and makes accurate recording of

unusual findings through the use of monitoring devices, direct observation, physical examination, knowledge of the different laboratory procedures and it’s normal values.

Must be skillful and able to perform insertion of intravenous fluids, and blood extractions when the need arises under the supervision of the physician, use cardiac monitoring and respiratory assistance and 12 lead to 15 lead ECG.

Provides emotional support to patient and members of the family. Administers medications, carries treatment and procedures noting any reactions. Handles patients with peritoneal dialysis (procedure start-up, peritoneal dialysis process and

terminating the procedure) which includes proper documentation of the intake and output measurement of the dialysate

Assures accurate administration of intravenous fluids and medications with the use of infusion pumps and syringe pumps

Monitoring of vital signs every 15 minutes, measuring intake and output every hour, turning patients to sides every 2 hours or as indicated, performing chest tapping and suctioning secretions as needed

Participates in the general activities of the nursing service.

Equipments Handled:o mechanical ventilator to assist breathing through an endotracheal tube or a

tracheotomy opening; includes use of ambubago cardiac monitors including telemetry, external pacemakers, ecg machine and

defibrillators;o equipment for the constant monitoring of bodily functions such as CVP&arterial

line;o a web of intravenous lines such as central (IJV, subclavian and brachial) lineso feeding tubes : nasogastric, gastrostomy, salem sump and jejunostomy tubes o feeding pump (kangaroo pump) o suction pumps and gomco suctiono infusion pumps (triple and single), syringe pumpso glucometer, nebulizer, pulse oximeters, PCA (patient-controlled analgesia) pumps

ACHIEVEMENTS: Advanced Cardiac Life Support (ACLS), trained : CDUH Pediatric Advanced Life Support (PALS), trained : CDUH Intravenous Therapy (ANSAP),trained Nurse: CDUH,April’06-present

ERUF trained (cardio-pulmonary resuscitation) : CDUH Philippine Nurses Association (PNA), member Secretary, Nightingale Student Council (NSC), 2004 – 2005 Philippine Student Nurses’ Association (PSNA) , Cebu Chapter, member Vice President, 2nd semester of SY 2003 – 2004, CLASS 2005 FIELD RESEARCHER in the conduct of Market Research on Filipino Buying Habits (Pre-

Need Policies), Geiser MAclang Comm. : August 8-10, 2003 Regional Finalist – 10th Philippine Statistics Quiz (2001- 2002) Bronze Medal Awardee – University of the Philppines, High School in Cebu (2000 –

2001) Bronze Medal Awardee – Cebu State College (1995 – 1996)

TRAININGS AND SEMINARS ATTENDED A forum on Leukemia, conducted by Dr. McArthur Conrado Salonga (VP-Tumor Board),

CDUH November 19, 2008 Seminar on Intravenous Therapy in the Philippines: Is it Legal or Ethical?

CDUH, Refresher Course October 20, 2008 A Forum on Epilepsy, conducted by the Association of Neurologists in the Visayas, CDUH

July 2008 Symposium on Arthritis, by CDUH Residents and Rheumatology Consultants

November 2006 Pediatric Advanced Life Support (PALS), CDUH Pediatric Residents and Pediatric

Consultants June 2006 Better Patient Care through improved UNIT Management,

Charge Nurses’ seminar and training, CDUH May 15 - 16, 2006 Intravenous Therapy Seminar, CDUH April 10 – 12, 2006

Regular IV Training program Advanced Cardiac Life Support – CPR Training,

Conducted by ERUF and CDUH August 2005 Symposium on Career Option for the Nurses of today

CNU-CN rm 301 March 5, 2005 Forum on Gerontologic Nursing: A – state – of – the – art,

CNU – AVR July 30, 2004 Seminar on Modes of Health Care Delivery,

CNU - AVR July 2004 Seminar on Career Options for Nurses

CNU – AVR March 2004

EDUCATIONAL BACKGROUNDBachelor of Science in NursingCebu Normal University, Cebu City Philippines2001 – 2005

PERSONAL DATA:Born on the 2nd of May, 1984, 24 years old, Filipino, Single, Catholic, 157.5 cm in height, weighs 47 kgs. Proficient in English, oral & written.

PERTINENT NUMBERS:

PRC License Number (RN) : 0380084VISA Screen Certfificate No. : 0004411890California NCLEX File No. : 533768IELTS Candidate Number : 015265Philippine SSS Number : 06-2547517-5Philippine TIN Number : 240-310-392

CHARACTER REFERENCES

1. MRS. GINA BELDA, RNSupervisor, Intensive Care UnitCebu Doctor’s University Hospital, Osmeña blvd., Cebu CityTel no. 255 5555 loc 215 / 351 (CDUH)

2. MRS. EDNA JOCELYN S. CABALLERO, RNNursing Directress (Chief Nurse) , Nursing ServiceCebu Doctor’s University – Hospital, Osmeña blvd., Cebu CityTel no. 255 5555 loc 215 / 351 (CDUH)

3. DR. DAISY PALOMPON, RN, MANAssociate Dean – College of Nursing, Cebu Normal UniversityOsmeña Blvd., Cebu CityTel No. 254 4837 (CNU - College of Nursing)

4. DR. FLEOY T. YSMAEL, RN, MANFaculty – College of Nursing, Cebu Normal UniversityOsmeña Blvd., Cebu CityTel No. 254 4837 (CNU - College of Nursing)

5. Dr. MARILOU B. ONG, RN, MNDean – College of Nursing, Cebu Normal UniversityOsmeña Blvd., Cebu CityTel No. 254 4837 (CNU - College of Nursing)

CURRICULUM VITAE

PROSFE JUNE D. YEECabiltes St. Cabadbaran, Agusan del Norteyprosfejune@yahoo.com09184292802

PERSONAL DATA

Age : 29Date of Birth : June 10, 1981

Place of Birth : Cabadbaran, Agusan del NorteCivil Status : MarriedHeight : 5’3Weight : 50 kgs.Religion : Roman CatholicCitizenship : FilipinoSkills : Choreoghrapher, Theater Dance Artist, Computer Literate

Educational Qualification - (LET) Licensure Examination for Teachers – PASSED

EDUCATIONAL BACKGROUND

Tertiary - Bachelor of Physical EducationMSU – Iligan Institute of TechnologyTibanga, Iligan City1998-2003

Secondary - Caraga State University (CSU)Cabadbaran, Agusan del Norte1994-1998

Primary - North Cabadbaran Central Elementary SchoolCabadbaran, Agusan del Norte

WORK EXPERIENCES PLACE DATE

Secondary School Teacher – I Cabadbaran City National High School June 2005 – PresentCabadbaran City

Lecturer Caraga State University (CSU) January 2003 – March 2005