IN

ART 7

School Year 2022 - 2023 4

4
Page 0 of 28
 Module in Art 7
Filipino Festival and Theatrical Forms
Lesson 13-Religious Festivals in the Philippines

Introduction:
The Filipinos’ sense of artistry is already ingrained in their history, traditions
and culture. Their love and passion for the arts are evident in their way of life-
ornaments, clothing, jewelry or body accessories, houses, celebrations and
festivities.
Filipinos, as cited with the above mentioned facts, love to appreciate
aesthetics. However, they are also known for practicality. It is apparent that the
Filipino art does not only settle for beauty, but also with its purpose or
functionality in one’s everyday life. Art is indeed a part of their life, a part of their
identity, and part of being a true Filipino.

Subject Description:
This unit will guide and explain why Filipinos live with the beauty of art.
From birth to death, art is with them and in them. The drama of the Filipino life
can be mirrored in the various celebrations, theatrical forms, festivities in all parts
of the country.

Lesson 13-Religious Festivals in the Philippines

Time Frame: 1 Hour
Are Filipinos religious? What makes you say so?

Page 1 of 28
 Observe the pictures below, do you find the sense of religiousity in them?
Explain.

When do you say that art is expressed through religion? Share your
responses.

Is religion part of the Filipinos’ way of life?

Should the art of festivity be part of religion? Why?

Several images like the holy family and various saints were brought by the
Spaniards to the Filipino psyche. They were presented through estampetas,
retablos of saints, via crucis, paintings on church walls and ceilings, and even
presented them through various forms of religious festivities like the following:

Pahiyas

Page 2 of 28
 Every May 15, the people of Lucban, Quezon celebrate this colorful feast
in honor of San Isidro Labrador, patron saint of Farmers. Traditionally, it is a way
of thanksgiving by the farmers for a bountiful harvest with grand display of
kiping, fruits, vegetables and handicraft adorning every house.
Kiping-is brightly colored, leaf shaped wafer made from rice paste.

Fertility Dance

One of the well-known dance rituals in the country is the sayaw sa

Obando celebrated every year during the month of May. It follows the tune of
musical instruments made of bamboo materials. During the early times. The
towns folk of Obando, Bulacan wear traditional costumes to dance on the
streets followed by the images of their patron saints San Pascual Baylon (St.
Paschal), Santa Clara (St. Claire), and Nuestra Senora de Salambao (Our Lady
of Salambao), while singing the song “Santa Clara Pinung-pino.”

Moriones

It is an annual colorful festival held every holy week in the province of

Marinduque. Men and women wear their Moriones costumes and masks
replicating the array of biblical Roman soldiers as how the locals interpret them.
It reenact the feast of St. Longinus, a Roman centurion who was blind in one
eye. According to church tradition, St. Longinus was the roman soldier who

Page 3 of 28
pierced the side of the crucified Jesus with a spear. He then received healing for
his affliction when blood and water from Jesus fell into his blind eye.
Morion means “mask” or a “visor.”

Ati-atihan

It is an annual feast held every January in honor of the Sto. Nino (Infant
Jesus). It includes on the third Sunday in the island and town of Kalibo, Aklan.
The festival is accompanied by indigenous tribal costumes and weapons, music
and dances. They parade along the streets.
The term Ati-atihan indicates “to be like Aetas.”
The Aetas are the first settlers in the island of Panay.

Sinulog

It is an annual religious festival held every third Sunday of January in Cebu

City, Cebu. Maasin City, Southern Leyte; Kabankalan City, Negros Occidental;
Cagayan de Oro City and Balingasag, Misamis Oriental; and Butuan City. The
festival commemorates the Filipino People’s animist origin and their acceptance
of Roman Catholicism.
Sinulog comes from the Cebuano adverb sulog that roughly means “like water
current movement.” It describes the forward backward movement of the
Sinulog dance.

Dinagyang

Page 4 of 28
 It is a religious and cultural festival in Iloilo City, held every 4th Sunday of
January. It is held in honor of the Sto. Nino and to celebrate the arrival of the
Panay settlers in the island.

Flores de Mayo and Santacruzan

Every month of May, the Catholics and Aglipayans celebrates this religious
festival called Flores de Mayo (Spanish for flowers of May). Lasting for a month, it
is held in honor of the Virgin Mary.
Santacruzan on the other hand, represents the pageant on the last day of
the flores de Mayo. This festivity honors St. Helena, locally known as the Reyna
Elena, and her son Constantine the Great in finding the true cross. The true Cross
is believed to be the cross upon which Jesus was crucified. Different places in
the country have their own cultural and folkways on how flores de Mayo and
Santacruzan are celebrated.

Learning Competencies:
At the end of this module, you are expected to attain the following
competencies:
(Lesson I, 2, 3 and 4 are using the same competencies)

Page 5 of 28
 1. analyze elements and principles of art in the production of arts and crafts
inspired by the cultures of Southeast Asia.
2. identifies characteristics of arts and crafts in the specific countries in Southeast
Asia.
3. reflects on and derive the mood idea or message from selected artifacts and art
objects.
4. appreciates the artifacts and art objects in terms of their utilization and their
distinct use of art elements and principles.
5. incorporates the design, form, and spirit of East Asian Artifacts and objects to
one’s creation.
6. traces the external (foreign) and internal (indigenous) influences that are
reflected in the design of an artwork.
7. creates crafts that can be locally assembled with local materials, guided by
local traditional techniques.
8. derives elements from traditions/history of a community for one’s artwork.
9. Shows the relationship of the development of crafts in specific countries
according to functionality, traditional specializes expertise, and availability of
resources (e.g., pottery, weaving, jewelry, and basketry).
10. shows the commonalities and differences of the cultures of the specific countries
in relation to Philippine culture.
Performance Standards:
The learner should be able to:
1. create artworks showing the characteristic elements of the arts.
2. exhibits completed artworks for appreciation and critiquing.
Specific Objectives:
At the end of the lesson, the students should be able to:
1. discuss the characteristics of the religious festivals of the specific regions in the
Philippines.
2. discuss the elements an principles of arts in the specific areas in the Philippines.
3. guide the students in doing activity in sketching various items.

Let’s Try This!

Activity: The following are the name of the festivals found in the different regions in the
Philippines. Describe each of the following festivals.
1. Pahiyas
2. Fertility dance
3. Moriones
4. Ati-atihan
5. Flores de Mayo

Page 6 of 28
Name_______________________________________Year and Section______________

Let’s Apply This! / Performance Task

Activity: Traditionally, Filipinos are celebrating the different religious festivals in
the country. The festival is accompanied by indigenous tribal costumes and
weapons, music and dances. Based from the given picture, please answer the
given questions found below:

1. How did the participants/dancers apply the elements of lines and colors in
their costumes?
2. What effects to the patterns of their motif have?
3. What feeling do you get from looking at the mixtures and harmonies of
lines, colors, and shapes in their attires and accessories?
4. What are your thoughts about the costume designs? Justify.
5. Draw a complete design of a Headress.
6. Take picture of an attire and send to your neolms.

Page 7 of 28
Let’s Do This!
Activity: Think about the common religious festivities being practiced in your
place. Write your personal thoughts about them in terms of political,
economical, social, personal beliefs and aesthetics inside the space of the
graphic organizer.
Type/Name of Religious Festivity: _______________________________________.
Place of Origin: ________________________________________________________.

Political Economical
(Thoughts/opinions are about the (thoughts/opinions about the
leaders or the decision-making resources, production, needs,
institutions) transportation, division of labor,
technology, or decision-making
related to economy

Social
(thoughts/opinions about the family
life, customs, traditions, education,
activities, or decision-making related
to social development)

Personal Beliefs Aesthetics

(thoughts/opinions, or ideas in terms (thoughts/opinions about how the
of religion, beliefs, rituals, and the like) different fields of art like
drama/theater, visual arts, dance,
and music are integrated in the
religious festivity)

Let’s Remember These!

Kiping-is brightly colored, lesf shaped wafer made from rice paste.

Page 8 of 28
Morion means “mask” or a “visor.”
The term Ati-atihan indicates “to be like Aetas.”
The Aetas are the first settlers in the island of Panay.
Sinulog comes from the Cebuano adverb sulog that roughly means “like water
current movement.” It describes the forward bacward movement of the Sinulog
dance.
Dinagyang It is a religious and cultural festival in Iloilo City, held every 4 th Sunday
of January. It is hed in honor of the Sto. Nino and to celabrate the arrival of the
Panay settlers in the island.
Santacruzan on the other hand, represents the pageant on the last day of the
flores de Mayo. This festivity honors St. Helena, locally known as the Reyna Elena,
and her son Constantine the Great in finding the true cross. The true Cross is
believed to be the cross upon which Jesus was crucified. Different places in the
country have their own cultural and folkways on how flores de Mayo and
Santacruzan are celebrated.
Show the value of love and respect to our patron Saints in which we
believe they could help us betray the bad elements around us.
Reflections!
After studying the different festivities in the specific regions in the country,
try showing your understanding by reflecting on the answers you have to the
following questions:
1. Choose and observe closely three or more types of religious festivities
discussed in this lesson. Describe and analyze the uniqueness of each
region’s form of religious festivity. Write your generalizations about their
different art styles.
2. Should the art of festivity be part of religion? Why?

The lesson ends by answering the two questions found in reflections.

Page 9 of 28
 Module in Art 7
Filipino Festival and Theatrical Forms
Lesson 14-Non-Religious Festivals in the Philippines

Introduction:
The Philippine culture reflects our nation’s complex yet interesting history. It
is a blend of various cultures or groups from Malayo-Polynesians, Hispanic
cultures. Chinese , Americans, and other countries as well. Prior to the Spanish
colonization, the Filipinos had their own culture particularly in the field of visual
arts and festivities.
Subject Description:
This unit will guide and explain why Filipinos live with the beauty of art.
From birth to death, art is with them and in them. The drama of the Filipino life
can be mirrored in the various celebrations, theatrical forms, festivities in all parts
of the country especially the non-religious regional festivals.

Lesson 14-Non-Religious Festivals in the Philippines

Time Frame: 1 Hour

1. Are all festivities in the Philippines influenced by religion? Why?

2. Do you think the early indigenou people in our country also celebrate
festivities? What makes you say so? Explain.
Panagbenga Festival

Page 10 of 28
 The month-long flower festival in Baguio, Panagbenga means “season of
blooming.” Usually, this festival is held in the summer capital of the Philippines
during the month of february astheir tribute to the “City of flowers” and as their
way of showing to the people that they can rise up after the devastating 1990
luzon earthquake.
The festival presents various colorful and floral decorated floats. It also
includes street dances with their floral and Cordillera region-inspired tribal
costumes too.

Masskara Festival

Bacolod’s festival is held yearly every third weekend of October nearest

October 19, the city’s charter anniversary.
The festival started in 1980 during the region’s period of economic crisis. It
was also the year when M/V Don Juan, carrying a number of Negrenses,
collided with the tanker Tacloban City and sank. An estimated 700 lives were
lost.

Page 11 of 28
 Despite their devastating and tragic events, collaborative effort was
made by different local artists, local government, and civic groups to come up
with a festival highlighting the positive attitude of the people in the region. Since
they are known as the City of Smiles, they came up with festival called
masskara.
This festival declares that the people in their place are tough and can
cope from those tragic experiences. They believe that bacolod city can pull
through, survive, and can succeed amidst all trials.
The word Masskara is a portmanteau, coined by the late artist, Ely Santiago, the
prefix Mass came from the english word mass that means a “multitude of
people.” While the term kara came from the spanish word cara meaning face.
Thus, masskara means “multitude of faces.”

Kadayawan Festival

The yearly Davao festival started as a celebration known as “Apo

Duwaling” festival from a government-initiated project called “Unlad Proyekto
Davao” in the late 1980s. it was planted to unite the Dabawenyo after the
Martial Law years and to exhibit the city as apeaceful. Colorful, and culturally
laden place to visit and to invest business in. in 1988, Mayor Rodrigo Duterte
(2016 elected Philipippine President) renamed it to what is known today as the
Kadayawan sa Davao festival to celebrate the city’s unique wealth in flowers,
fruits, and rich ethnic culture.
Duaw na sa Davaw! Duyog sa Kadayawan! Maglingaw-lingaw ta! Is a
tagline that one would usually hear as the Dabawenyo celebrates and explores
the region’s festivity in showcasing their past, present, and future arts and
culture.
Kadayawan derives from the friendly greeting “Madayaw” from the
Dabawenyo word dayaw, which signifies goodness, values, superiority, or
beauty. The festival is a celebration of life, a thanksgiving for the gifts of nature,
wealth of culture, the bounties of harvest, and serenity of living.
Kaamulan Festival

Page 12 of 28
 This Malaybalay’s ethnic cultural festival is held annually from the second
half of February on March 10, the anniversary date of the foundation of
Bukidnon as a province in 1917.
It is a celebration of culture and tradition of the following original settlers
of the region. They are the regional linguistic groups of:
1. Bukidnon
2. Higaonon
3. Talaandig
4. Manobo
5. Matigsalog
6. Tigwahanon
7. Umayamnon
It was on May 15, 1974 that kaamulan was initially celebrated. It coincides
during the fiesta celebration of the municipality of Malaybalay. Since
then, the celebration became very popular not only among the locals
and nationals, but also attracts very good tourism feedbacks from
abroad.
Kaamulan comes from the Binukid word amul meaning “to gather.”
Kaamulan is gathering for a purpose-a datuship ritual, a wedding
ceremony, a thanksgiving festival during harvest time, a peace pact, or
all of these together.

Learning Competencies:

Page 13 of 28
 At the end of this module, you are expected to attain the following
competencies:
(Lesson I, 2, 3 and 4 are using the same competencies)
1. analyze elements and principles of art in the production of arts and crafts
inspired by the cultures of Southeast Asia.
2. identifies characteristics of arts and crafts in the specific countries in
Southeast Asia.
2. reflects on and derive the mood idea or message from selected artifacts
and art objects.
3. appreciates the artifacts and art objects in terms of their utilization and
their distinct use of art elements and principles.
4. incorporates the design, form, and spirit of East Asian Artifacts and objects
to one’s creation.
5. traces the external (foreign) and internal (indigenous) influences that are
reflected in the design of an artwork.
6. creates crafts that can be locally assembled with local materials, guided
by local traditional techniques.
7. derives elements from traditions/history of a community for one’s artwork.
8. Shows the relationship of the development of crafts in specific countries
according to functionality, traditional specializes expertise, and
availability of resources (e.g., pottery, weaving, jewelry, and basketry).
9. shows the commonalities and differences of the cultures of the specific
countries in relation to Philippine culture.

Performance Standards:
The learner should be able to:
1. create artworks showing the characteristic elements of the arts.
2. exhibits completed artworks for appreciation and critiquing.

Specific Objectives:
At the end of the lesson, the students should be able to:
1. discuss the characteristics of the non-religious festivals of the specific
regions in the Philippines.
2. discuss the elements an principles of arts in the specific areas in the
Philippines.
3. guide the students in doing activity in sketching various items.

Page 14 of 28
Let’s Try This!
Activity: The following are the different non- religious festivals found in the
different regions in the Philippines. Describe each of the following festivals.
1. Kaamulan
2. Kadayawan
3. Masskara
4. Panagbenga

Let’s Apply This!

Activity: Traditionally, Filipinos are celebrating the different non-religious festivals
in the country. The festival is accompanied by indigenous tribal costumes and
weapons, music and dances. Based from the given picture, please answer the
given questions found below:

1. How did the participants/dancers apply the elements of lines and colors in
their float design?
2. What effects to the patterns of their float have?
3. What feeling do you get from looking at the mixtures and harmonies of
lines, colors, and shapes in their float design?
4. What are your thoughts about the float designs? Justify.

Let’s Do This!
Activity: Annually, Bacolod City in Negros Occidental celebrates their Masskara
festival every third weekend of October. In connection with the said festivity,
you are asked to draw a Mascaras design and apply the principles and
elements of design on your finished drawing. Write a short description.

Page 15 of 28
Let’s Remember These!
1. Panagbenga Festival
The month-long flower festival in Baguio, Panagbenga means “season of
blooming.” Usually, this festival is held in the summer capital of the Philippines
during the month of february astheir tribute to the “City of flowers” and as their
way of showing to the people that they can rise up after the devastating 1990
luzon earthquake.
2. The word Masskara is a portmanteau, coined by the late artist, Ely
Santiago, the prefix Mass came from the english word mass that means a
“multitude of people.” While the term kara came from the spanish word
cara meaning face. Thus, masskara means “multitude of faces.”
3. Kadayawan derives from the friendly greeting “Madayaw” from the
Dabawenyo word dayaw, which signifies goodness, values, superiority, or
beauty. The festival is a celebration of life, a thanksgiving for the gifts of
nature, wealth of culture, the bounties of harvest, and serenity of living.
4. Kaamulan comes from the Binukid word amul meaning “to gather.”
Kaamulan is gathering for a purpose-a datuship ritual, a wedding
ceremony, a thanksgiving festival during harvest time, a peace pact, or
all of these together.

Appreciate the value of festivals celebrated by the people in the

different regions in the Philippines. They should also give value and
preserve the culture and traditions left by our ancestors.
Reflections!
After studying the different non- religious festivities in the specific regions in
the country, try showing your understanding by reflecting on the answers you
have to the following questions:

Page 16 of 28
 1. Does your chosen regional non-religious festivities have foreign
influences? Explain.
2. Do you think the Department of Tourism is supporting these regional
festivities nowadays? If yes, how? What are your evidences?
The lesson ends by asking this question “Do you think the Department of Tourism is
supporting this regional festivities nowadays? If yes How? What are your evidences?

Module in Art 7
4th Quarter
Filipino Festival and Theatrical Forms
Lesson 15-Representative Philippine Theatrical Forms

Introduction:
In some parts of Luzon, Filipino Christian communities were influenced by
the Spanish culture in terms of reenacting dramas on the lives of the saints, life
and death of Jesus Christ, the miracles of Virgin Mary, and even the battles
between the Christians and the Muslims.

Subject Description:
This unit will guide and explain the drama in Philippine folk theater, the
dramatic forms introduced or influenced by Spain continue to live in rural areas
all over the archipelago. These forms include the komedya, the playlets, the
Sinakulo, the Sarswela the drama and Sakuting.
Lesson 15-Representative Philippine Theatrical Forms
Time Frame: 1 Hour
Are Filipinos Dramatic? Why?
What for you makes Philippines a nation of artists?
Where can you find the passion and soul of an artist? Explain.

Page 17 of 28
Sakuting

The Sakuting dance from the province of Abra emplys music, costume,
and accessories to the story, making the presentation theatrical. Originally, it
was presented as an all-male dance performance presenting a mock fight
between Ilocano Christians using sticks. Traditionally, it was a Christmas dance
wherein the dancers receive an Aguinaldo (gifts of money) or refreshments.
Senakulo

Senakulo is a Lenten play (performed during holy week) that showcases the life,
passion and death of Jesus Christ. This is usually set in the town plaza. It is a
collaborative affair because it usually emplys the whole community as actors
and spectators as part of the scene.
This European-inspired tradition has been part of the Philippine culture. The
characters use costumes of the human centurions, attires of the jews, and the
disciples.
In most barangays in the country, the Pabasa ng Pasyon is among the
highlights of Lenten celebration among the catholics.
Moro-moro

Page 18 of 28
 It is a comedia that depicts bloody battles between the Christians and the
Muslims. This commemorates the conflict of the Spanish with the Moros (Muslims
from North Africa).
What is common in the Philippine theatrical forms is that there is always
the presence of the protagonist and antagonist.
Moro-moro (comedia) is a play that became popular in the Philippines
during the Spanish colonial period. It depected battles between Christians and
Moros- as Muslims in the Philippines are popularly known- with the Moros as the
Perpectual villains who always lost to the Christians in the end.
The komedya is a play inverse which many dramatize actual events, the
lives of saints or stories about Christians and/ or Moorish royalty in the medieval
kingdom of Europe. Africa and the middle East. This ancient and popular play is
called komedya in most Christianized parts of the country, but is also known
locally as Kuleleng in Isabela, bakal-bakal in Pangasinan, cumidya and curaldal
in Panpanga, Kolokyo in Catanduanes, linambay and minoros in Cebuano-
speaking provinces, and hadi-hadi in Leyte.

Sarswela

Page 19 of 28
 The Sarswela is a play in prose (less often, poetry) with songs and dances,
containing one to five acts, portraying filipino types and situation within the
framework of a love story, and incorporating contemporary issues. Sarswela
flourished in different philippine provinces in the first two decades of 20th
century. Also called Zarswela, sarswela, dulang inawitan, dulang hinonika,
drama lirico, and operetta, the philippine sarswela is descended from the
spanish zarzuela brought to the Philippines from 1879 to the end of the century
actors and troupes from Spain.

Learning Competencies:
At the end of this module, you are expected to attain the following
competencies:
(Lesson I, 2, 3 and 4 are using the same competencies)
1. analyze elements and principles of art in the production of arts and crafts
inspired by the cultures of Southeast Asia.
2. identifies characteristics of arts and crafts in the specific countries in
Southeast Asia.
2. reflects on and derive the mood idea or message from selected artifacts
and art objects.
3. appreciates the artifacts and art objects in terms of their utilization and
their distinct use of art elements and principles.
4. incorporates the design, form, and spirit of East Asian Artifacts and objects
to one’s creation.
5. traces the external (foreign) and internal (indigenous) influences that are
reflected in the design of an artwork.
6. creates crafts that can be locally assembled with local materials, guided
by local traditional techniques.
7. derives elements from traditions/history of a community for one’s artwork.
8. Shows the relationship of the development of crafts in specific countries
according to functionality, traditional specializes expertise, and
availability of resources (e.g., pottery, weaving, jewelry, and basketry).
9. shows the commonalities and differences of the cultures of the specific
countries in relation to Philippine culture.

Performance Standards:
The learner should be able to:
1. create artworks showing the characteristic elements of the arts.
2. exhibits completed artworks for appreciation and critiquing.

Page 20 of 28
Specific Objectives:
At the end of the lesson, the students should be able to:
1. explain the significant importance of the traditional dramas in a
developing nation like Philippines.
2. Accept the facts that komedya, sinakulo, sarswela, drama and
sakuting.
3. Participate actively and creatively in the group presentation.

Let’s Try This!

Activity: The following are the name of the theatrical forms that has been the
tradition and part of the Philippine culture: Describe each of the following forms.
1. Sakuting
2. Senakulo
3. Komedya
4. Zarsuela.

Let’s Apply This!

Activity: Traditionally, Filipinos are celebrating the Philippine Theatrical Forms in
the specific regions in the country. Select one of the theatrical form and show
picture. Write the principles of art found in the picture.

Let’s Do This!
Activity: In some parts of the regions in the Philippines, Filipino Christian
communities were influenced by the Spanish culture in terms of reenacting
dramas on the lives of the saints, life and death of Jesus Christ, the miracles of
Virgin Mary, and even the battles between the Christians and the Muslims.
From the given statements, write AGREE if you believe that the statement
is correct, and DISAGREE if the statement is wrong. Explain your answers.

1. Senakulo was influenced by the Spaniards to promote Christianity in

the country.
_____________________________________________________________________
____________________________________________________________.
2. Moro-moro dramatizes the encounters between Spanish and Muslim
cultures.

Page 21 of 28
 _____________________________________________________________________
_________________________________________________________.
3. The culture of Pabasang Pasyon is a Holy Week celebration practiced
in the Tagalog regions only.
_____________________________________________________________________
____________________________________________________________________.
4. Theatrical forms were introduced by the Spaniards to the Filipinos.
_____________________________________________________________________
____________________________________________________________________.

Let’s Remember These!

Variety- means to change the character of an element, to make it different. It is
the complement to unity and is needed to create visual interest. Without unity or
harmony, an image is chaotic and unreadable, without variety, it is dull and
uninteresting. Good design is achieved through the symmetry of unity and
variety; the elements need to be alike enough so we receive them as belonging
together and different enough to be interesting.
Rhythm is the continuity, recurrence, or organized movement in space and time.
Sequence is the experience of the rhythm.

Show the value of artistry and creativity in making an artwork. Support and show
the best performance in the theater arts.
Reflections!
After studying the Philippine Theatrical forms in the specific regions in the
country, try showing your understanding by reflecting on the answers you have
to the following questions:
1. In the theatrical forms like Senakulo or Moro-moro, where can you find the
passion and soul of the
artist?__________________________________________________________________
______________________________________________________________________.
2. Think about the things that you have learned in this lesson?
________________________________________________________________________
_______________________________________________________________________.

The lesson ends by asking students about the things that they have learned from
this lesson.

Page 22 of 28
 4th Quarter
Art 7
Theatrical Forms of Asia
Lesson 16- Kabuki and Noh

Introduction:
Good Day Everyone! In the Philippines we have similar festivals and
theatrical forms as other countries in Asia. Some of the festivals and theatrical
forms are adopted from other countries and modify in relation to the culture of
their country. They build the cultural centers that serve for their practices and for
enhancing their skills through acting, dancing and other related activities. There
are places in Asia which are well-known in their theatre arts, In Japan they are
known for their theatres like Noh and the Kabuki, in Indonesia for Wayang Kulit
and Peking Opera in Beijing China.

Subject Description:
The lesson in exploring Festivals and Theatrical Forms of Asia show that the
learners demonstrate understanding of how theatrical elements like sound,
music, gesture, movement and costume affect the creation and
communication of meaning of theatrical forms as influenced by history and
culture. This lesson is also described the elements and principles of arts as
manifested in Asian festivals and theatrical forms and the visual elements and

Page 23 of 28
components of the selected festival and theatrical forms through costumes,
props and others.

Lesson 16- Theatrical Forms of Asia (Kabuki, Noh)

Time Frame- 1 Week
Kabuki- is a traditional Japanese theater that tells a story in a purely narrative
form.
Nowadays, kabuki makes use of elaborate stage sets and multiple set
changes: large casts: bold costumes with several costume changes: and
employs an extensive musical ensemble (hayashi) with various sound effects. It
uses bold face makeup patterns (kumadori)
: special effects including trap doors and wirework (kerek); dramatic poses
(mie); a distinctive form of chanting; and bold costumes.
The oldest kabuki theater still in operation today can be seen at the
kanamaru-za in Kotohira, Kagawa Prefecture.

STAGE DESIGN FEATURES:

The stage uses special features like the lower hand (shipmates) and the
upper hand (kamite) similar to our stage right and left; and a latticed
compartment behind which the musicians are located (geza orkuromisu). A
long narrow walkway and one of the most visible stage features (hanamichi),
extends from the stage to the back is used for dramatic entrances and exits, as
well as for monologues

COSTUMES AND MAKE-UPS

Actors wear a skull cap (habutae) under their wigs. Those worn by actors
playing female roles (onnagata) are purple in color (murasaki boshi).
Kabuki makeup (kesho) provides an element of style easily recognizable
even by those unfamiliar with the artform.

Page 24 of 28
 Rice powder is used to create the white oshiroi base for the characteristic
stage make-up, and kumadori enhances. The color of the kumadori consists of
red lines which are used to indicate passion, heroism, righteousness, and other
positive traits, blue or black lines which represent, villainy, jealousy, and other
negative traits, green for which supernatural elements and purple for nobility.

CATEGORIES:
Jidaimono or history plays are set within the context of major events in
Japanese history and focuses upon the Samurai class.
Sewamono or contemporary plays are focused more closely on
commoner characters like the townspeople and peasants. These plays tend to
have more dialogue and less fighting scenes or special effects, though the
content of the narrative is often more deeply, emotionally, dramatic,

NOH THEATER:

Noh is a Japanese theatrical art form that has been designated as an

“Intangible Cultural Heritage” by UNESCO. It is a total art form comprised of
drama, music, and dance elements.
The noh play, the oldest surviving form of Japanese theater originated during
the 1300s. Noh plays combine music, dancing, and acting to communicate
religious themes.
Noh performance are traditionally men, although some of them have to act the
female parts.
Noh is an art of illusion, which refers to local legends and historical feats. In
this play, all the elements of movements, music costumes and dance are united
to create a drama of intense concentration. Most plays of the Noh repertoire
have only a few roles. It is played by a main actor or shite, usually wearing a
mask, and one or more supporting actors or waki. Most Noh plays have a

Page 25 of 28
dreamlike quality where boundaries of time and identity are blurred. Normally
the shite reveals himself late in the play as a ghost or spirit with an obsessive
attachment to a person or event from his past that interferes with his Buddhist
salvation. This is usually followed with a climatic dance, during the play, the
costume of the main actor changes according to

Learning Competencies:
At the end of this module, the learners should be able to attain the
following competencies:
1. analyses elements and principles of art in the production of arts and crafts
inspired by the cultures of Asia.
2. identifies characteristics of arts and crafts in specific countries in Asia.
3. reflects on and derive the mood, idea, or message from selected artifacts
and art objects.
4. appreciates the artifacts and objects in terms of their utilization and their
distinct use of art elements and principles.
5. incorporates the design, form and spirit of Asian artifacts and objects to
one’s creation.
6. traces the external (foreign) and internal (indigenous) influences that are
reflected in the design of an art work and in the making of a craft.
7. creates crafts that can be locally assembled with local traditional
techniques.
8. derives elements from traditions/history of a community for one’s artwork.
9. shows the relationships of the development of crafts in specific countries in
Asia according to functionality, traditional specialized expertise and
availability of resources.
10. shows the commonalities and differences of the cultures of the Asian
countries in relation to Philippine culture.
Performance Standards:

Page 26 of 28
 1. Create artworks showing the characteristic elements of the arts of East
Asia.
2. Exhibits completed artworks for appreciation and critiquing.
Specific Objectives:
At the end of this module, the students should be able to:
1. identify selected theatrical forms celebrated all over the Asian region.
2. describe how the community participates and contributes to the event.
3. identify the elements and principles of arts as manifested in Asian
theatrical forms.
4. define what makes each of the Asian theatrical forms unique through a
visual presentation.

Let’s Try This!

Activity 1:
1. Make an analytical comparison of the Peking Opera of China to
Japanese Kabuki. Write your answers on your pad paper.
Peking Opera Kabuki
_____________________________ ___________________________
_____________________________ ___________________________

2. How would you compare Asian Theatre with Philippine Theatre Forms?
Asian Theatre Philippine Theatre
_____________________________ ___________________________
_____________________________ ___________________________

Let’s Apply This!

Activity 2: Completing a Graphic Organizer
Fill out the Venn Diagram to show the similarities and differences
between Kabuki and Noh.

Page 27 of 28
Name: _______________________________________ Year & Section_______________

Let’s Do This!

Activity 3: Designing a Stage for a Kabuki Show

Materials: Long size bond paper, pencil, coloring materials.
Procedure:
1. Prepare the materials in drawing a stage design.
2. Sketch the stage which is relevance to the kabuki show.
3. Apply the elements and principles of art in drawing a stage design.

4. Your finished drawing will be evaluated using the following criteria:

Accuracy---------------------------------------15%
Application of Color -----------------------25%

Page 28 of 28
 Creativity---------------------------------------20%
Relevance to the Puppet Show--------25%
Neatness ---------------------------------------15%
Total---------------------------------------------100%

Let’s Remember These….

Remembering what you learned…
a. Where did the following theatre forms originated?
1. Kabuki
2. Wayang Kulit
3. Sarzuela
4. Peking Opera
5. Senakulo

b. 1. Describe the distinguishing characteristics of the Peking Opera of China

in relation to their history and culture.
2. Differentiate the two forms of Japanese theatre from each other.
Show the value of discipline by showing excellent performance in theater art.
Reflections:
Thinking what you learned…
1. How does religion influence the Asian Theatre?
2. What are some distinct features of the Asian Theatre forms?
3. How might modernization affect an Ancient art like Wayang Kulit?
4. How does religion influence Asian Festivals?
The lesson ends by answering this question “How does religion
influence Asian Festivals?

Page 29 of 28