SAINT LOUIS SCHOOL

Solano, Nueva Vizcaya

JUNIOR HIGH SCHOOL DEPARTMENT
S.Y. 2019-2020
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PAASCU Accredited: Level I

Learning Module in MAPEH 9

(4th Week)

MUSIC

Learning Competencies:
At the end of the lesson, the learners should be able to:
Analyze the musical structure of the vocal music forms of Romantic Period music;
Listen perceptively to selected art songs and excerpts of opera and classify the different vocal
ranges and voice types of opera performers; and
Explore other arts and media that portray Romantic Period music.

INDIVIDUAL ACTIVITY
#1 Let’s Watch A Movie!

You are going to watch a modern version of what an opera is. Watch for the different components of
opera being shown in the movie. Then take note of the important details about the plot, the characters,
musical, and theatrical elements present in the film.

Answer the following guide questions: (1whole sheet of paper)

1. What is your overall impression of the film?

2. From viewing, cite the important components needed to produce an opera?
3. Did the film teach you how to have a good understanding on how to perform in an opera?
4. In what ways do operas help people learn about the culture of other people?
5. How will you help other people in the future to understand and appreciate theatrical
performances like the opera

ARTS
Learning Competencies:
At the end of the lesson, the learners should be able to:
Define what makes some selected Western Classical plays and opera visually unique; and
Show the influences of Western Classical plays or opera on Philippine theatrical performance in
terms of form and content of story.

FAMOUS FILIPINO PLAYWRIGHTS

FRANCISCO BALAGTAS Y DE LA CRUZ

Was born on April 2, 1788 in Panginay, Bigaa, Bulacan and died on February 20, 1862 of pneumonia. He
was also known as Francisco Baltazar. His best known work is the Florante at Laura.

Francisco Balagtas was the youngest of the four children of Juan Balagtas, a blacksmith, and Juana de la
Cruz. He studied in a parochial school in Bigaa and later in Manila. During his childhood years. Francisco
worked as houseboy in Tondo, Manila. Balagtas learned to write poetry from Jose de la Cruz, one of the
most famous poets of Tondo. It was de la Cruz himself who personally challenged Balagtas to improve his
writing.

In 1835, Balagtas moved to Pandacan, where he met Maria Asuncion Rivera, who serve as the muse for
his future works. She is referenced in Florante at Laura as “Celia” and “Mer”

Balagtas affections for Mer were challenged by the influential Mariano Capule. Capule won the battle when
he used his wealth to get Balagtas imprisoned under the accusation that Balagtas ordered a servant girl’s
head to be shaved. It was in prison that he wrote Florante at Laura so that the events of the poem were
meant to parallel his own situation.

Balagtas published Florante at Laura upon his release in 1838. He moved to Balanga, Bataan in 1840
where he served as the assistant to the Justice of Peace and later, in 1856, as Major Lieutenant.

He died on February 20, 1862 at the age of 73. On his death bed, he asked a favor that none of his children
become a loet like him, who had suffered under his gift. He even told them it would be better to cut their
hands off than let them be writers.

Balagtas is so greatly revered in the Philippines that the term for Filipino debate in extemporaneous verse
is named after him: Balagtasan and one of the greatest literary wards in the Philippines is also named after
him.

SEVERINO R. REYES

“Father of the Tagalog Zarzuela”

The son of Rufino Reyes and Andrea Rivera, Reyes was born in Sta. Cruz, Manila on February 11, 1861.
He studied at San Juan de Letran College and later at the University of Sto. Tomas, where he studied
philosophy.

A Filipino writer, dramatist, and playwright, Reyes was highly acclaimed as one of the giants of Tagalog
literature. In 1902, Reyes founded and directed the Grand Compania de Zarzuela Tagala.

On June 14, 1902, the company staged his play Walang Sugat, a drama set against the historical events in
Bulacan during the Philippine Revolution. In 1923, Reyes co-founded the Liwayway, a Tagalog literary
weekly which publisged a series of fairy tales titled Mga Kuwento ni Lola Basyang, written by Reyes. The
storyteller, Lola Basyang, was based by the author on a neighbor named Gervacia de Guzman. Severino
Reyes died on September `5, 1942, when the Philippines was under the Japanese regime.

Severino Reyes’ masterpiece, Walang Sugat broadly underscores the injustice of Spanish rule even as it
dances around the cruel fate of the young lovers Tenyong and Julia with humor and song. Set in the fina
leg of the Philippine Revolution, Tenyong is forced to leave behind his childhood sweetheart Julia to join
the Katipunan. Meanwhile, Julia’s mother pressures her into marrying the wealthy Miguel instead. With
no words from Tenyong as the battle prolongs, Julia gives in, but her wedding is interrupted by the
fatally wounded Tenyong. He mentions his dying wish to Julia, and the play features an unexpected twist
that shows how Tenyong was able to outwit the persons separating him from his beloved Julia.

The production was directed by Ricardo Abad, under the musical direction of Josefino Tolledo. Jonjon
Villareal handled lights design while Dexter Santos choreographed. Set, and costumes were designed by
National Artist Salvador Bernal.

DR. RICARDO G. ABAD (A Director)

Born in Manila on August 10, 1946 of parents from Cavite and Camiguin. He graduated at the Ateneo de
Manila, after which he obtained a Fulbright grant to finish a doctorate in sociology at Fordham
 University in New York. A full-time faculty, Department of Sociology and Anthropology; Artistic Director,
Tanghalang Ateneo Metrobank Network of Outstanding Teachers Pathways/ANI, Ateneo de Manila
University Role Players, Theater for Life Social Weather Stations.

He has been involved as actor and director in over 120 productions while at the same time doing
sociological work as teacher, researcher, and editor. He has also directed and acted for professional
companies like Teatro Pilipino and Tanghalang Pilipino of the Cultural Center of the Philippines, and the
Metropolitan Theater. Theater Guild. Many of his theater productions were classics of western drama
but in terms of a Filipino and Asian sensibility, like Shakespeare’s Romeo and Juliet.

SALVADOR S. BERNAL

“Father of Theater Design in the Philippines”. He was born in 1945 to a family that ran a Terno shop. He
was the first to develop theater design as a profession and elevate it to an art form. Studied at Ateneo
de Manila and at Northwestern University, Evanston, Illinois, USA, practiced, and handled courses in the
art and craft of theater design. He taught briefly at Ateneo de Manila and University of the Philippines.
He had designed more than 250 productions in ballet, theater, and film. A National Artist Awardee.

INDIVIDUAL ACTIVITY

Activity #1: SPOKEN POETRY (Activity for 2 weeks)

Instructions:

 Create an original/ own spoken poetry. About either of the following:

o About the COvid -19 virus
o For the victims of the Covid-19 (giving hope & inspiration for the victims)
o For the Front liners
o For the Philippines (in fighting against Covid-19)
 Write your Spoken Poetry in a bond paper/1 whole sheet of paper (for the hard copy)
 Either English, Tagalog or Ilocano.
 Duration: minimum of 1 min. & 30 sec. and a maximum of 3 minutes.
 Take a video of your spoken poetry to be uploaded on your facebook account. It will serve as an
inspiration to everyone. (Don’t forget to tag/mention your subject teacher to recognize your
presentation)

Criteria: Originality, Organization of Content, Delivery and Creativity

PHYSICAL EDUCATION
Learning Competencies:
At the end of the lesson, the learners should be able to:
Realize the importance of the different exercises in enhancing fitness; and
Perform the different exercises with a musical accompaniment.

Different Types of Exercises:

1. Lateral Trunk Stretch – stand with feet shoulder width, stretch both arms up with the
fingers interlocking with one another. With that position, bend to the right without
bending the knees for eight seconds. Do it again to the left side. Do not over stretch on
your flexibility level.
2. Push- up – perform regular push-up with 5 repetitions.
3. Jog Around – jog around the gym/ area for 60 seconds.
4. Burpees – stand with your feet shoulder-width apart. Go to squat position with the hands
on the floor in front of you. Kick your feet back moving in a push-up position. With that
 position, open your legs in straddle position then close. Kick your feet forward back to
the original position. Stand up and jump in the air. Repeat five times.
5. FBS Jump – stand with your feet shoulder width apart. Slightly bend your knees with
both hands at the back of your neck. Jump forward, backward, sideward right and left as
fast as you can keeping your weight on the balls of your feet. One count for every cycle
(forward, backward, sideward right and sideward left). Make 8 cycles.
6. Trunk Twist – standing with feet open in shoulder width, raise arms sideward at shoulder
level with palms up. Gradually twist your trunk to the right for eight counts. Do it again
to the left.
7. Front Plank – in a push-up position, make your forearms as the base support together
with your toes. Keep steady position and work on your abdominals and arms. Do it in
eight seconds.
8. Split Squats – stand with your knees feet shoulder width apart. Step your right foot
forward and lift the heel of your left foot off the ground. Keeping your hands on your
waist, bend the left leg slowly and lower it almost touching the floor. The front knee
should not go beyond your toes. Repeat 10 times alternating the right and left foot.
9. Side Plank – lie on your right side making sure that your body is in a straight line. Rest
on your forearms and bring your elbow underneath your shoulders. Contract your
abdominals. Then slowly lift your hips off the floor making a diagonal straight line from
your base of support to the head. Look straight ahead keeping your neck in line with your
spine. Hold for 10 seconds and repeat on the other side.
10. Chair Dips – stand with your back in front of the chair. Sit on the edge of the chair and
place your hands behind your hips along the sides of the chair.
11. Jumping Jacks – stand with your feet together, hands at sides. Jump and land on both feet
open shoulder width apart with arms moving sideward upward finishing above the head.
Then go back to the original position. Do this for 10 times.

INDIVIDUAL ACTIVITY
Activity #1:
Perform the different types of exercises with a musical accompaniment.

Instructions:
 Your music must be lively.
 Take a video of your performance.
 It must take 2 minutes (minimum) and 4 minutes (maximum) time.
 If you cannot perform the other exercises listed above then you may add the different
exercises that you performed in your PE class.
Criteria: Originality, Organization of Content, and Creativity

HEALTH

Learning Competencies:
At the end of the lesson, the learners should be able to:
Identify the classification of TV shows and movies used; and
Appreciate the importance of the articles regarding protection rights pf children.

The MOVIE AND Television Review and Classification Board (MTRCB) is the government agency
responsible for rating television and film for the Philippines. The rating of TV shows and their
descriptions are the following:
 G GENERAL PATRONAGE – SUITABLE FOR ALL AGES
Material for television does not contain anything unsuitable for children.

PG PARENTAL GUIDANCE
Material for television may contain some adult material that may be permissible for
children to watch but only under the guidance and supervision of the parent or adult.

SPG STRONGER AND MORE VIGILANT PARENTAL GUIDANCE

Program may contain more serious topic and theme, which may not be advisable for
children to watch except under the very vigilant guidance and presence of a parent or
an adult.

Meanwhile, the classification of movies and their descriptions are as follows:

G Viewers for all ages are admitted.

PG Viewers below 13 years old must be accompanied by a parent or supervising adult.

R-13 Only viewers who are 13 years old and above can be admitted.

R-16 Only viewers who are 16 years old and above can be admitted.

R-18 Only viewers who are 18 years old and above can be admitted.

X “X-Rated” films are not suitable for public exhibition.

The classification of TV shows and movies were based on the following criteria:

1. Theme – if the film contains violence, threat, abuse, horror, or other themes that may cause fear
or disturbance to a young child’s mind.
2. Language – if the film contains dialogue beyond polite language. However, disrespectful, nasty,
and sexually-suggestive language or gestures are not allowed.
3. Nudity – if the film contains occasional, as well as natural non-sexual nudity.
4. Sex – if the film contains and presents sexual activity.
5. Violence – if there is representation of any violence that is likely to cause undue anxiety or fear
to young children.
6. Horror – if there is representation of horror and frightening scenes that is likely to cause undue
anxiety or fear to young children.
7. Drugs – if there is representation of, or reference to, prohibited drugs or their use.

The Convention on the Rights of the Child

Article 19 (Protection from all forms of violence): children have the right to be protected from being hurt
and mistreated, physically or mentally. Governments should ensure that children are properly cared for
and protect them from violence, abuse and neglect by their parents, or anyone else who looks after
them. In terms of discipline, the Convention does not specify what forms of punishment parents should
use. However, any form of discipline involving violence in unacceptable. There are ways to discipline
children that are effective in helping children learn about family and social expectations for their
behavior – ones that are non-violent, are appropriate to the child’s level of development and take the
best interests of the child into consideration.

Article 34 (Sexual Exploitation): Governments should protect children from all forms of sexual
exploitation and abuse.

Article 35 (Abduction, Sale and Trafficking): the government should take all measures possible to make
sure that children are not abducted, sold or trafficked.
 For cases of assault and abuse

In order to prevent becoming a victim of assault and abuse, one important consideration is knowing the
proper self-defense techniques which involve physical, mental, and emotional assertiveness. These are
the following:

 Self-esteem – having self-confidence that will make you less likely to be chosen as an easy
target.
 Assertiveness – having a bold and confident behavior, like speaking with conviction, may
prevent a physical attack. Since many attackers want easy victims they can overpower quickly,
saying forcefully phrases like “leave me alone” may surprise an attacker before s/he can make a
move.
 Body Language – making direct eye contact and using a strong voice are some actions that can
send off a message to the attacker that you are aware of how to take care of your safety and
that you will not be victimized easily.
 Intuition – one important rule is that if you sense danger, or if you sense that something is
wrong or about to happen, you should immediately get away.
 A self- protective attitude – most important of all, you must realize that you are worthy and
have a right to be treated with respect. Being safe is your right, but it is also your responsibility.

INDIVIDUAL ACTIVITY

Activity #1: Promotion Through Social Media ( Bond Paper)

Draft a short but powerful message in your worksheet regarding your passion and promise of maintaining a
culture of non-violence. Be ready to post your message in your social media account (facebook)
afterwards.

Criteria: Relevance, Creativity, and Originality