DAY 1 : ORIENTATTON AND BELEASE

TllvlE acTtvtTY/ I carvlEs/ THEORETICAL

SUBJECTAREA EXEIICISFS COI$PONENT

- Gqttins Acquainted
Zip Zap
Ship h Sinkins

Dr{wing

. Lunchbfeak

.-15;inuter r

Visual Arb ,

_
Ctoatirc grama Eight Basic

''Sinthesjs of
the daY: . '
 Nafte i:hein fi,r./sra,rg nga paipi;jtt!

Objective
' o To get to know each other and remember the names o{
co,partici-

i. With the participanrs, form one Diq circre and s;i on rhe oor
" com-
forrabty.
2. Tell them thatthegame is calted,,Name Chain,,,where each on€ witl
try to rememberthe names and taces of their co-participants
3. Ask the group to decide whether turns sha be done clockwise or
counterclockwise.
4. Ask someone to start calling ou1 his name and thereafter, the person
next to him (in the direct;on which the group has decided) c;lls out
the name of the starter belore calling ou1 her oltm nume. ii.ilarly,
the next person calls out the names of the starter and the secon;
person be{ore c€lling out her own. Then again, the
fourth person
follows the procedure.
5. A{ter the last person in the circle has calted outthe namesofno.
1
through no. 24 (in a group of 2b participants, as in thjs case), the
starter goes through the entire process, calling out the names of no.
2
through no. 25. Depending on the availability of time, ask nos.
2,
3,41o do the same.
6. Game ends when everybody knows everyone by name.

Vedatirn 1 8e{es..nlefiied io !,arrir:iiran1.! .tr. k,ri,rj,.,i:.I orlref ):

1. describing himselt,

yourself with the names of the partici-

D Bemind everyone to lis'ten, con-

nDo participants as someone tries

to

a-it "zap

)bjectives

To reiflJorce the panicipants' capability for recollection.

To provide a release exercise that puts panicipants at ease with one
another.

1. Form a circle with the participants. co to the center of the circle and
act as the first"ll"
t6
 2. lel th€ participants that when you (orthesucceeding"lT") pointto
a pal1icipant and cal out "Zipl" that participant should call outthe
name of ihe person to her right. Wh€n you call out "Zapl"instead,
the participant being pointed at should call out the narne of the
p€rson to her left. On the other hand, when you call out "Zip-Zapl",
evervone should find a new plac€ in lhe circ e.Againl
lf "lT" calls out:
"zt?1" - name of person to the right of the par-
ticipant being pointed at.
,'ZAP,'
- name o{ the person to the left , , ,

"ztP.zAPt" - evefyone moves to find a new place in

the circle.
3. The person who cannot give the name of the "zip" or "zap" person
in three counts becones the next "1T. "
Give additional instructions to make the game more complex. Ask
lhe "lT" to say "Zip Zip" ot "Z1p-Zip.Zip"
in whlch case, the one
pointed out must name the two or three persors to his right or leJl
l"Zap.Zap ot Zap.Zap.Zap") as the case may be.
5. Do this until everyone has been given a chance to know each other

Natcs on Facilitation

! Be animated while leadlng the garp. Your performance as "l l'" will
serve as an example for the next "1T."
n When the "lT" says "Zip-Zap!", encourage the panicipants to cross
over the circle and not just transfer a place or two to either side or
to where a person whom they already know stands nearbv,

Ob/ectives

o To provide aciivity for self-release.

o To diminish inhibitions regarding body contact with other prrsons.

1. Tell the group to lmaqine that you are all in one ship and lhat you
are th€ captain, To prepare yourselves for any untoward happening
while cruhing, tell th€m that you will have an emergency drill, the
objective of which is 10 get inlo the lifesaver's boat.

2. Croup participants by two's, thre-"'s, {our's or more, with some parts

of their bodies, touching, e.9., knees togelher, heads together, $houl
ders together, elbows togeth€r, etc. Accomplish this throullh the
following instructions:
The ship is sinking so we have to put shaulders togethet [or any
athet part of the badyl in the lifesaver's boat. fhe boat can occupy
anly four (4) people! [ot any numbet of gtouping] Gol
Or the elliptical command:
Shoulderto-shouldet by fouts! GO!

3. Call out "Freezel" aJter groupings have been formed and cleck if
instructions were f ollowed.

Stop while enthusiasm is high.

21
Notes on Facilitation

r] Be -'naglnai ve
i" sugses,ing body parrs. D€oenorag on voJ.pe.cep.
1on or the groJp. c.l oJr ooov odrrs. rf p ioining oi w,icn
nirt roL
embarrass or further inhibit the partrcipants.
tr Always say the body parts first before the number o{ peop
e in a
a groLo, P<t-ric palrs get e\c:teo Loo,) I rowi,rg i1€ ru^ba, fo,
grouorrg dnd ohen fai .o linen rl--ou91 tne.es.o..he,15r,u.r.ons.
tr BF dvrarrr ir readrnq the gar p and generoJs ir cor-nerd 'lg
9.oup
ellort, cucl-.s.ecogirirg,rhe !a!tesroroLoi'rq,, nos. ;e..ry
-re
con_rposed qroupinq," etc.
rl Consider cultural restrict ons or local taboos. There ar€
communities
wl-ere .oicl^;ng oeLWFer members ot rhe opoos,.€
Sprd.-s a-e ro-
occpol"d. FiesoecT aro oo ,ror :'lc Jo€ rhig gamp
'his Lrtess ihe paFi.
cipants thems€tves say it is atrighr.

o To develop the participants, awa.eness of the qualities of co-partici-

o To d€velop strong teamship,

1. Divid€ the group, by count;ng ofl into teams of 12 m€mbers each.

2. Tell the participants that they will have to arranqe thernselves accor_
ding to a particutar pattern each time, ancl that the teams sha I com_
pete with each other on the basis of speed and accuracy in executing
instructions. Alrangement o{ team m€mbers may b€ according to:
Blrthday: from Januarv in front to December ar th€ back
Height: from tatiest in Jront to shonesr at the back
Size of I\4outht from smaltest jn front to biggest at the back
Coior of Skin:from darkesr in fronrto fairest at rhe back
Waistlinei from smattest in front to largest at the back

3. Give the particlpants l0 seconds {count I to lO stowly) to follow

your instructions. Upon completion of task. ask the teams to siton
the f oor. When a I t€ams have finished, check their arrangemenr on
th€ line. Give points to the winner.
.. :,
4. Ask the group to give the wtnnjng team an applause and ask them
to do something for the winninq qroup.

ta.ilitduan
' .;1"
otPs on

n Vary your instructions, e.g., from front-to back to back-to front.

! Do not allow further movemerts and changes in the arrangement
after the tenth count,
Depending on the composition of rhe partjcipants,
varied ideas for arrangement.
ln selecting the winning group, give more weight ro

n Tabuiat€ on the blackboard the points gathered by the groups.

 The Expectations Check gives an opportunily for the members of the
group to get to know each other on another level and h€lp them pinpoint
their expectations from the workshop. lt atso gives the facilitator an idea of
the participants' level of participation and awareness oJ matters concerning
workshop objectives.
For a start, any of ihe first two exercises below, ,,Shape IMe,, or,,Blind
Contour Drawing," may be employed, leading to the articulation of expec
tations. To bring our the participants' expectations, th€ foIowing questions
should be answered by them, ora ly or in writing.
A What do you expect to get fronr the workshop?
a What can others expect from you (or what do you wish to contri
bute) in this workshop?
I What do yo! expect from your facilitators?
What do you expect from your co-participants?
^
a What are your mental baggages that prevent you from fully partlci_
pating?

Later, after the exercis€s, their answers to the questions may be tabu-
lated and synthesized.

Objective

o To enable the participants to expressthemselv€s ln a essthreatening

manner by using visual symbols.

l. cive each participanr a piece oi paper. Ask each participant to shape

the paper, through folding, tearing, crumpling, or any other tech,
niqu€ of shaping, into a symbolthat wi 1 r€present himself. li colored
paper is available, the participant may choose the color he wants.
Give them 5 minutes for this.
2. After making his personal symbol, ask each parricipant to get a
partner thev hardly know. Then, ask the pair to s;t comfortably
facing each other and get to know each other through their "shapes."
First, they interuiew each other, asking,,!hy and how their chosen
shapes symboiize them. Second, they ask each other about their
reply to the five qLestions for the Expectations Check.
3, Remlnd th€ inlerviewer to remember as much iaformatlon as pos-
slble about his parlner ln order not to miss out significant notes
during lhe sharing.

Nates an Facilitatlon

[] As a participant chooses his colored paper, rnentlon the imporlance

and effect oi color and shape to bring out what he feeis or thinks he
k. Thk will encourage a conscious choice of color and shap€ in the
creation of a sYmbol,
n In th€ intervi€w portion, encourage participants to ask important,
meaningful, and probing questions using "why." For example,
rather than ask questions like "what are Vour likes and dislikes?",
ask "whV did you choose blue?"
n lf a pair has more time, encourage them to continue and get to know
more about each other.
29
 Objectives

o To introduce an approach to drawing an.l minin_tize apprehensions

about not being able to draw
o T-o introduce the skill of lookinq at and perceiving
the face, its con
tou rs, and its planes.
o To encourage participants to look straight into each othels
eyeE
hoping that rhis wilt lead to more l." u*".r una
i""iing
about each other, "orrl+on.Oi"

L Give each participant a piece of paper and ask him to fiid a partner.
2. Ask the partn€rs to face each oth€r and start to draw
each other,s
face, starling at any pojnt ancl proceeding to
draw witf,ort t.of.ini
dr the oaper. G:vF !l.em L1s 1;p: dg the eles toltow Ll.e
69r16ur.i
tl'e race. rhp t-ano shol-.o ,nove ir rhe sa.e di€.rion rhdr r're
ey;s

3. Allow the participantsto check rheir drawings bur each time they
,:i,"9 ,1"rn ro srop orawins dnd co., *.v.r,"- ,."
::.
have gon€ back ro tne;r pdTrner's race, """ "v"l
4. Ask th€ participants to interuiew each other (same pairinql
to find
oLrt more aboJ. ,heir respec,.ve pa-tnar,s persona,
cj.crmstances
thoughts. and v:ews. Re-;ro .t er rh.r Lhe in.erview shoutd tead,;
the workshop expectationg check.
5. Bemlnd the ;nterviewer to remember as much information as pos-
sible about hh partner in order not to miss oLtt signiJ;cant points
dur;ng the sharing.
6, Synthesile t.e experie.lces b.ief y. toJct^ing on t-ow rhe pan,cipdnrs
tett as rrodels a'rd as i,lusrrdro.9, Bv Lging acr-a. eramp.es of
iaces
drawn, point out that even if the drawingi ..y not h";;;;pt;;;
total llkeness of the moclets, some of the featrr", a"*n ," iif,"lv ,o
bear resemblance to those of the subject.

Notes on Facilitation

I Stress the importance of looking at the subject while drawing

rather
than at the drawing itself; this is meant to train coorclinators betw€en
hand and eye movements,
tr This exercise on contour drawing will elicit laughter because of the
€aricature-lik€ resu lts. Altow these moments of glee which are
usua f
mixed with embarrassment.

Jbiectives

o To deepen and internalize the understanding of one,s partner,

o To be abJ€ to share with the targer group, the participants, dis-
coveries about thejr respective partners.

1. After the pairs have finished their interviews in ,,Shape I\4e,,or ,,Btin.l
ContoJ Drdw:ag" ere.cises, ask rhem Lo fo.m ; biq circ,e vl:rn
partners seated beside each other
2. Do the sharing of jnformation gathered during the inrerview before
the big group by pairs, in the fo owing manner: A kneels behind B
t0
 and holds on to the shape that B has made; A assumes that he is B
himself talking, so he uses th€ first person singular in disclosing
whatever information about his partner; A is given a maxirnum of 5
minLrtes to share,
3. F€peat the process for B during her turn to share what she has
gathered about A.
4. As the partners share with the big group, one of the {acilitators lists
on the board the answers to the expectations check, classifying the
answers inlo four major groupings, withoLrt labeling them yet a$ such
untilthe synthesis.
0rientational (social or communi'ty awareness)
- Artistic (theater skill awareness)
-.- OrganizationaL {a\,\€reness o{ working habits with others)
lvlental baggages

Nates an Facilitation

- Usually, the narrators tend ro use the thkd person point of view,
so always remind thern to use the Jirst person point of view. l)oing
so creates an intin,acy between partners and facilitates internaliza-
tion of what one hasgathered.

-anid PdPer

colored felt pen

1. Group th€ participants into 3 or 4 pairs {or each team.

2. Ask them to share inforrnation alrout each other by pairs.
3. Ask each group to put their shapes and/or contour drawings into a
composite that would, however, still reflect the individual members
of the group. Tell rhem that they may add other shapes and symbots
that wilL also show their background, exp€ctationE and/or objectives
in joining the workshop. lhis would be the group logo (or group
image)and may give themselvesa name,
4. Ask each group to share with the bigger group their group logo.

1. Solicit reactions and/or insjghts about the exercises given.

2. cive a sunrmary of the expectations of the pa.ticipants as you have
listed them on the board.
3, Jntroduce, after drawing out inslghts from the grouping of the
expectations, the A-O-A (Orientation, Artistry, and Organization)
framework of the workshop. This is the time when labeljng oJ the
expectations groupinq should be done. (See pages 13,14 for a
review of the A-O-A objectives of the workshop.)
4. Give your own expectations from the participants as \€il as what
you wish to give or share with them.
5. Ask the workshop organizers to share their expectations from the
workshop.
6. Try to resolve as much as possible the mental baggages presented.

7. S€t attitudes proper and helpful for a successful workshop.

31
 8. Give the participantsthe schedule oJ workshop
activities, house rules
and ffoupings for various task, creating responsible
teams with
specific tasKs per da\,, Ir yoJ use (ne ,,Gtoup
Looo,,exerc:,e rhp
s€me g.or,ping mav orov:de lhe respons;ble
r".rn, a*io" if^"
teams to take turns in implernenting the following "J"0"".
suggested iasksl
- Keeping the.oom c,ean afrer each sesston.
-- Keeping tine or seeing to it that schedules are ,iollovl/ed and
necessary adjustments are made,
D'shwashing or l-ouse cleaning in the case ot a J:ve in work-
shoP.

Thjs action song is adapted Jrom ,,t\,4ay lsang NIartilyo,,,

sung by etemen-
tary s.hool children.

o T: h.vel up the group and prepare them for the afternoon

session,
physicaily and ir re.ns of conce.lrrarion.

1. Teach the lyrics and the tune.

2. Teach the acrions lor the tyrics.

LAPU- LAPU.

- *a- ps *ing i- *u-*u-

Refrain:

Ang giyera ni Lapu-Lapu

lsang mahabang giyen
Hindimatapus-tapos

Leader lr4ga kapatid!

Gtoup: Ano 'yun?
Leadert ltaas ang kanang kaiay!
Graup: ltaasang kanang kaflEy!
Leade.i ltaas ang kaliwang kanay!
Gtoupt ltaas ang kaliwang kanay!
Leader Sugod!
Gtoupt Sugad!

(Repeat Refrain)

leadett Mga kapatid!

Gtoupt Ano 'yun?
leadet: ltaas ang kanang kamay!
Group: ltaasang kanang kantay!
Leadett ltaas ang kaliwang kanay!
Groul ltaas ang katiwang kanay!
Leade| lpadyak ang kanang paa!
Grcu$ lpadyak ang kanang paa!
leaderi lpadyak ang kaliwang paa!
Gtoupt lpadyak ang kalivlang paa!
Leadett Sugod!
Gtoupi Sugod!

(Repeat Refrain)

Leadett lvlga kapatid !

Gtoupi Ano tun?
Leadeti ltaat ang kanang kamay!
Groupi ltaas ang kanang kamayl
Leadett ltaas ang kaliwang katmy!
Grou!: ltaas ang kaliwang kamayl
Leadett l-shake ang ating ulo!
Gtoupi l-shake ang ating ulo!
Leader Sugodl
Group: SrJ'od!
(Repeat Refrain I Arg giera . . itutuloy! (DAPAI)

Ci/*i\.4eA Shdpe
*illlFle [xercile: in.livirlqai Shape lfhs A!phi*]et]

o To let the participants discover that various parts olthe body can be
used to communicate ideas,
o To exercise the body {or physical mobiliy and agility.
 1. Ask the participants to imagjne a pafi of their body as a pencil.
dll (oserher ro use rhis po:-lr roarr of rhe booy, ro wrir€
" 1:: llT ,:rr*: of rhe atphabeL. slarr wirh usins si.oie pun" to
::'""fll
naroty used parts of the body.

_ finger
- hips
- wrist, elbow
- should€r
- ch in
-
_
toe, heel
- lips
knee
- head
- buttocks

Notes On Facititation

tr l\4onitor the participants as they exercise rhe required

movements.
! Encourage inhibited participants to explore and move parts
of their
bodies by asking them to exaggerate their letter forms.
D A "fun exercise,,, th;s one is surely to elicit iaughter. Just keep
reminding the participants to concentrate_

:'irrlii,! i;:.:.ir,:: lr.,jJ! t::t ,.:.

Objectives

o To stimulate the participants, imagination,

o To make the participants comrnunicate as a group a shape in detail,
through body expansion and/or exaggeration.
o To release inhibitions of parricipants regardinq bodv contact with
co-parr'cipanrs for berler in €racTion.
i r-r tri:: ir;:r.ti:tIi:.ri ti.i:.t:l:

1. Divide into groups o{ five members each.

2, Name an object or shape and ask one group to form the object or
The premke ofthe inresGted ans work_
shape in 10 counts. Ask them to ,,freeze,, or hoid rheir oosirions. shop is ihat etemenrs oi art are essentialty
the samefor a artfo.ms, althoush the
Examples nat! re of rhe etemenrs ditier vrirh uarying
- banca with outriggers
- coconut tre€ The basic etehen$ of arr are: srace,
palavak lpotl line,shape, sound, teiti.€, cotor, nove_
- nent ahd rhy&h. 1. a broad sen*,, these
- anro lplow)
elehents are commo. io rhe pann:utar
3. Ask th€ other groups to watch and give cornments on how to im subjectareasdeatr with in BJTAW.
prove the shape for a clearer fornt. Spa@ refe6 to rhe field in which ihe
art exisrs; i1k an elemenr rhat the arrhl
4. Narne another object and ask another group to form th€ shape of works wlth. Wtthour space, we would not
that object. be able to discern the ideas bei.g expre$ed.
5, Ask the re.na inilg q.oLos ro torm or ter slapes, To the vislatarrht, ir retets io rhe paper
or
actualarea in which the oiher etemenrs
6. Ask the groups to setect the best group shape, based on imagination, p acedjro the musicia., ir comes
are
a5 inrer.
detail, and clarity o.f form or shap€. va s ol sound a.d siience, whiie ro the
ador it reie6 ro borh hi, rnner \pace
Notes on Facilitatian hho!qht5 and teetinqt and the outer space
(the wor d whpfe he mo!es aroufd)
In alt
! Choose objects which are fami jar tocatly or to rhe parricipanrs. of rhe ad forms lpace may be ocupied,
refetred to as poerrve space, posir ve rr
i Create an atmosphere of fun and enjoy ihe exercise wilh them. the sense thatthere is somerhjng in rhe
tr Limit the 'time Jor the creation of each object and in analyzing the space;or unoccupied, referred ro as
qroup shap€ Jor this milht stow down their enthusiasm.
14
 D Appreciate all groups and glve reasons lor choosjng that one which is
considered the best. Encourage giving applause.
I Watch out for participants \4,ho try to donrinate the other mernbers
of his group. Consider thes€ observed dictalorial tendencies i sut
sequent groupings.
tr Observe keenlv and note down the Elements of Art and Theater,
Principles of Organization and Oualities of a cood pedormance
which you wlll use later for synthesis and evaluation. On page :]7 are
questions that may help you evoke responses leading to the
m€n_
tioned a rtistic principles.

1. Divide the panicipants into four subgroups.

2. Proceed as in th€ ear ier exercise but this time give shapes thar are
mor€ complex,

Examples of Objectsl

- a bow of boiling noodles

- a carabao that vvalks and makes sounds
- a dragonf y
- a je-apney that nroves

3, Encourage the groups to produce sounds appropriate for the shape

latve spacei meaningthe emply space
spaces unoccupied by dalter.
When a penci is used ro draw, it starts
th its polnt and we do not see anylhins
til the penc moves and creates a l.e.
re, therefore, has direction, since motion
dstowards something. This ls also iroe
an actress o. stage. The minute she
)ves acro$ lhe stage, she has drau/n a llne
d we perceive motion rowards a direc'
n. Besides direction, ine by tself can
!e d fferent q!allliestihe textur€ of line
Jers depending on what drawing tool
e uses or what paper the artist is drawlng
. A body urrich moves in a jerky or
ged way prorecrs a je*V and jagged lina.
A3 the line moves, it creales shape,
ape vari6ln form. ii straiqhtand precise
work . Buttexture s 6lso perceived l.
nusic. The so!nd that a bamboo m!slcal
instr!me.t makes k dlfferent irom what a
metal m!sical instrume.t oeates
And so wiih people. We refer to certain
charactere as texturesi for exanple, we say
a pe6on is "p astic" to reler to her belnq
altif caland synlhetic. Thls ls rr!e for
Filipiros slnce vle have bee. exposed to
p astic floweh, plastic plates and other
plastc prod!cts thai eave us cold and
uiieeli.s.We have an exe,clse wheE we
ask the partic pa.ts to create a.haracter
co lage, where co laqe refeB to the activity
ol pasrinq dilJerent textured s!rlaces or
objects on rhe paper and b!idln9 a
character susgested by rhe result.g com-
stalted to use colorto expres rhetr im
pre$ions a.d feelinqs. Colors are ak . ro
emotion and music. Whenwehear musk)
we respond tothe muslc from wirh n.
Co or, as the other e ements are, is cutrure
specillc. Our culture has a parrlc!tarcokn
raste brolqht about by the vr'ay we are or
theway we lve. Eecausewa iive in arroptca
c imale we tend to falorand expre$ our
selvesthrouqh !!arm color, reflecr ng
sunny and w6rm .nvi.o.nenr.
ll,lovehent rele6 to the energy impuLrs
thai the aniorm canies, There isa.e.e.gy
inherent in the fofln wh ch has a dynamic
re ationship wlth the world ourside,
creat nq tension and relaxation
Fhythn expre$es ihis irnp!lse
as we L

es or edges are !sed, qeomet.ic shapes
) produced. lf round,softand itregu ar,
lanic or blomorphicforms are creared.
re qualit! oi expre$ion also d iten wilh
lexturo reie's ro the tacti e q!alitY oi
rfaces. Gelalin hasa d fferenr texture
)m cryital,there aro ro!gh and smooth.
-lexrure is soen when
rlaced stones.
iinterstry io slm!1ate the vis!a appetr
rce of the surlace of things or when theY
tualiy glue iexiured objects on their art
posite, For instance, a collage may have
a p ece of irla$,I ower, soft paper, paper
c ip The pe^o. can be descr bed as beins
genr e and warn or lirm and co d. lt s
open to i.terrretar o. and we beq n to
re ate peop e w th tralts a.d create silns
Aside from texture, color is 6 so !se.l
to reier 10 te-allnss An h srory shows thar
earl! pa ntecused colorasrhey saw ii i.
ife. Later we see how color was emanci
pated troh designared ro es and arrisrs
bul more tha. jusi that, it prov des rhe
pd se ol ile ol thc art work. Certain
emotions or situations have a diiferenr
-ihese
elements are parrs which inrer
io cohplere the vrhote, A combinr.
relate
rion oi these e emenrs produce the arl
form that witi projecr a particutar
me$aqe dependinq on how rhe parts vr'ere
 r.,nr rrj.j. ri.';r:,i-!: I jit,rr,r: rji ijjr l. rl

1. Divide the participanrs into three grolps. proceed

as in the earlier
exercise, but this time tell the groups that they,re supposed
to cr€ate
a. suggestion of a spdce Lsing the body. and
rhai they -ay Lse human
characters as elenents of whateve. space tl-ey w.ll create.
Give them
10 seconds or counts.to do the exercise.

Example Spaces:
:.r-.:.. ir. irr | -.!.
- ;nsioe a can of saro:nes {or cny smalt closed space)
-'lsroe d mov:ngandcrdmo.o jeeolev rorany rned:Lm croseo I Certain prlnctpt€s h6ve been idertified
'. to help in the organizatton ofan arr s|c
- kitchen during preparation time for fiesta (or
any larg€
closed space) l solecrivi1y, Thh refers iolhe setection
- a garden {or any medium open spacej of the eleme.ts to use what tine, cotor,
shape, text!re, sound, novenent, and
2. Divide th€ parricipants into two subgroups. proceed as in the eartier rhythm to ser speciitcquatilte3 nee.led bl
exercise. Glve each group 10 counts ro creare the space you wi ca| lhe Jorm for ir to expre$ or sugqesian
out. Let the groups do the exercise one alier another,
Vsriation and Contrasr, The alt lorrn
h3s an overalltheme and rhe part. catry
Exarnple Spaces:
variations oi the iame rheme, which may
be in contrast to one another, Contrast
- children's playground in a poor barrio (or any small heightensthe differenceandernphasizes
op€n space)
- church or pJace of worship during Sr.rnday
{or any large cjosed space)
- market place/shoppjng center
(orany large closed space
ricefi€ld (or any iarge open

Notes on Facilitation a

ii Focus and Subordination. A oood an

n Take note of th€ conceprs of space lrsed in the gam€l ; form tocuses on 4 point. There is $deiltno
I which is emphasized to draw the vi{,wer,\
j attention to a pa'trcliar idea. To d. th s,
c osed small space or open small space
- closed medium space or open medium space - 't 5 ne@sary that other oa.rs of thp r.rm
- 4
!",,...,.,,-..--.*..,.."**-
- closed large space or open large space

This k to let the participants explore the different types o{ space.

Also, this is your guide in alter;ng the space area depending on what
is familiar in that community.

! ln the second exercise, each participant should be motivated to be

definite wlth what particular pan they take in the space improvisa,
tion, as well as to relate w;th the others in the spac€,
36
 Solicit reactions and insights on the exercise. Here are sorie questions
which you may askl

What made a shape recognizable and eredible?

(Recall an outstanding shape made bV a group and ask them to
re'enact it. Let the rest o{ the group comment.)

A Did the line and shape studies help in recreating a space? What did
o not compete for attention wlth the
you use in order to recre6te the space? Was lhe space,idea clear?
)cal point; in fact, subordinating the other
erts h necessary for any one panlo be (From the answers o{ the participants, deduce the Elements of
Arts, Elements of Theater, Principles of Composition and the Ouali
Propoltion and Balsnc€. Balance refets ties of a Good Performance. Let the subgroups demonstrate space
) th€ distibution of weights in the an studies and ask the group how rhe principles of organizarion were
rm. This m?y be seen in the lse oJ rhe used, and how the pefformance level oJ the actors was)
sualeloments such as line, color and shape,
ron stage i. the weisht of the sooken
nes or the distribution of movemenr.
roportion needsto be considered in
:lancing weights, astor example, in
ecidinq how msny elem€nts.nd how
ofthem should be used in creating
'ucfi

Itlovsment.nd Dynamism. Dynanrisnr Abiectives

fersto the excitement created bv the
teraction ofthe elements. As earlier To develop the partic;pants' ability to communicate visually through
entioned,the elements on the space the eiploration, sequencing, interaction, and composition of $hapes
-ovide tenslon or the push and puliforc€s within an acting area.
ral theelernents eten upon one another,
To develop the participants' ability to translate the images seen
nce each element placed onthe work pro
through body rnovernent and sounds in a specific envircnment by
les movemenr, thls contributesto the dyna,
exploring a two dimensional space..
ic relationship of the parts.
Logic. There shouLd be a reason for the To develop the participants'abiiity to concretize abstract images lnto
ements to exht. And as one elem€nt is actual shapes in a real;stic setting.
laced, so othersfollow in loqicalsequence.
To be able to show visually the elements of art and explain howthey
r desiqning fortheater, there should be a
are organiTed _o create a pict'rre
qicalreason lor puttinga chair on stase.
. ites*ntialtothe play? lf it has no

rnetion, it has no reason to be there. ln a

ay, "fom follows fu nction", i.e., the
tm isthe logical rcsuii of the function 2 rolls of long brown crcft paper 13 m. long) or manila pape-f._
r which it is created, Thls h a good prirci. warer solubl€ painLs {red, yellow, btue. white. btack) or dituted dve
Unity and Harmony. The main objective
creati.q a form isto achieve uniry and
armony. whea pads contribute har brushes i112-inch; 1 inch; 'l'112-;nch)
roniously to the oonpletion of the whole,
rags for cl€anino
Clarity, To be expre$lve. ihe fom
e€dsto be clear in its conceotionand
,eation. _lhh is achieved whei suDe.fluous
1d non-esential elements do not obsc!re
1. Dlvide the group into two subgroups. Secretly, give instructidns to
ie idea beinq put acro$.
each group to move in a composition according to a specified space
environment

Examples o{ Space Environments:

- City Street
- lvlarketplace

2. Give each tea-n 20 minutes to improvke.

3. Ask the teams to take turns in presenting their respective conposi,

37
 4. Ask t5e other rear ro gtess r're roc.e e.v ron-nenr -aap. lr ,ne
't
space rded is clear. -ean: it is done we,:i,.o., ask sLggps.io-ts
from the l$archjng team on how the compositon may be
i;;rovecl.
5. Ask the p_erforming ream to ,,freeze,,
its irnproved,,pictoriat com-
position" for 10 minutes as the other team draws
the composition,
Give the drawing team 30 mjnutes to finhh
their vhuat intemreta-
tion o' rle cnosen s.enF. ErcoLrqge the- ro ddd ;ragired
oer;;ts a,

7. As(,rhe wa-cning 1ed-r to oe.totm lnis lrme as r1e o.Ter lean

warcnes and ,ater d"dws rl,e s€co,rd p:cro-ial
composirior.
Pin up drawings for everybody to appreciate.

Notes on Facilitation

n Ev€ry parricipant must be equipped with a brush anct conrribut€

to
the whole project. Encourage the use of alternative materials such a(
brush iTprovised .rom cocorLr husks or a ry m"ter.a wirr Oristte.
like quality. lf such is not avaitable, use cotored chajk or charcoal
sticks.
tr Side coach and remind the participants to be conscious of how a
ghape relates with oth€r shapes, Consjder
the color, texture, and
mood Jelt through the sounds and movements created.
n Observe the participants, interaction anctbody anguage. Even if they
are reminded to relate with others, most pafticipants are prone to
concentrate only on their particular area or task, indicative of per
sisting inhibition.

From the group drawinqs, draw out the €lements of arr by asking theil
)bservations on how line, shape, color, texture, and space were t;ated,
)oint out the manner in which shapes are ptaced
and how they tnteract in
:he pictoriai space to create batance. Aho show th€ manner by which
'hythm and emphasis ar€ rendered.
Ask if the drawings were effective in visually conveying the idea.

)biectives

o To sllmuiate and develop the participanrs' imaginatton.

o To make the participants a[€re ot rhe Eight Basic Efforts of l\rove

lBefore the exercise, tell the group to concentrate on their own move
nents and responses to the exercise. Remind them, howev€r, to be sensitive
bout getting into each other's way.)
r8

J!st beiore pedorming, we usua y see acro* r!shing abo!r,
doing iheir warm.up, bittng thejr .aik or q!ie1ty mectitating in
a corner, As a prodlcrion rerm, rhey wi work besl fthey
d scip ine themselves individuatly and as a qro!p, The quathy ot
their performa.ce depends grearty o. this d scip ine which s
ach eved through hard work. There are ceriat. fearures fo!nd t.
the way actors perfom;
Relaxation. Even if the acror is iense watrt.g Jor h s cue to
go onstage, t is necessary for him to k.ow how to .e
ax. And
this can only happen if he has th. discipt ne for rhis through
vlgoro!s breathing and sirerching. Hjs pedormance should appear
efloft e$, as he del vere h s I nes or as ris characrer unfotds o.
characterj meanins, he has detved deep into knowjng rhe charac_
t€r he s portray ng, in relation ro ihe other characre.s.
An acror who is concentrared in his perfornrance never oses
h s cue and his characler. Concentrarton requkes a lot of clisci-
oli1, be(oLe rn""n.oroo rqor.dc-io-!c1dzo.o 19 . or
studyi.g a.d portrayinq the ro e,
Sensitivity and Teamwork. One does notv/ork atone in
the3terrthere are more than one person tn ihe crearion of a
form - the designer, props man, the lights .iran, the prompter,
the co-actors, they allwork as a team. And forthe team to get
where they wanrto go, membets need to be sensirile ro each
other Onstags, a fine perlorma.ce qua itv resutts ifteam mem,
bere are sensitive to the needs of each oihFr

Precision and Mastery, Precis o. i. a perfofmance refe6 to

Sincerity and Conviction is.ecessary ior a qualjtar ve perfor righttiming, or ihe characreristic rhythm of rhe play; ro the
mance. Th€ actor m!st be convinced ol his roie and si.ccre n rhe contr bltio. of each nember olthe ream to achieve this end,
porlrayalofthe role He can doihi! if hehas inter.6tjzed rhe tt4astery isachieved when everyone does hjs work oet.

1. Let the participants lie wiih their backs on the floor and eyes closed.
Give enough space for ev€rybodv so rhar they dont touch co-partici_
pants. lvlake them feel relaxed so that they may easily,,entcr into

Some pointers on how to make the participants relax:

' Breathing breathe deeply and rhythmica ly

- Fe€ti tens€ up feet muscles slowly lhen slowly rejax
- Kneesr tens€ up knee muscles slowly then slowly relax
' Thighs: tense up thigh musc €s stowly then slowl\/ relax

- Buttocksr tense up buttock muscles slowly then slowly relax

- Abdomenr tense up stomach muscl€s stowly th€n sLowly
relax
Chesti iense up chest rnuscl€s slowly then slow\/ relax
Shouldersi t€nse r.rp shoutder muscles stowly then slowty
relax
-- Neck: tense up neck musctes slowly lhen slowty ralax
- WholeBody: simultaneously tense Lrp bocty muscles slowlv
th€n slowly relax

Alow 10 seconds of sience.

2. Ask the participants to move around and mimic according to rhe

instructions you glve them, as you narrats to rhem the followin!
cover story for space travelogue
With eyes apen, imagine yaurcelf tying down in bed in your
rcon. Look atound. What is it that makes you feel camfortable
herc? l ake your senses work. What is the smell af yaut room? Fauch
the bed. Feel it! ls it snaath. tough, hard, solr? Then s,owly stand
up, go around the toom. lmagine that yau are alane. walk around
slowly in your room,
Now that you have exploted yout raomr go out and exptorc
othet areas. Where ls the daar of yaur rcam2 lmasine the door, go
ta the doot and open it. Yau are naw outside and frcm afat yau see
a ieepney coning. Wave at jt /t stops and you ride, sitting some
where at the back. The jeepney is janpacked. There are bags at yaur
feet and yau can hardly sit comfattably. lt's twetve a'clock high
3S
 The eiqht baric efforls ar€:

The painter has his brush, the sinqef his voice and the EFFORT WEIGHT DIRECTION SPEED
acror
his body, The waythe acror moves, walks, and gesticutates,
hh
mere presene or st6ge convey a lor ol meanings. Thus, it Sksh
is
important fo! the acto.to knowhis body so he can discover, Dab Light Straight
master, and cortrot his bodily expre$ions.
Glide Light Straight Slow
lf we were to dividethe body accord nO ro the concentration Staisht
of movementwe wilLiind four pans: ihe head, the trunk, the Staight
legs andthe arms. Each part, composed of many orher part', Light Slow
can
be isolated and erplored, tt is important io knowthe boundartes Lisht
ofth€ body ltselfand as ir moves in space
- the body, within a All klnds ot movements, whether in dance or in druma..ar
spacd.field. Wam-up€xercises every session awaken the body. b" qral\/ea ir re ns o p!o,.,.Th"Ltd,irvo-exprenolofideas
through breathlng and srrelching, settins the tone ofthe body. 'or bd ach evdd wrel r14 efi or r i! we. oF,
.edted becdu:e Lne
bod! artic!lates rhe idea visua|y throuqh movemeol and
rhts can
ln studying body movement, Rudoti Laban' h de|ned for be perceived by the viewer.
uselsht basicefforrs that prope rhe body to move. Efforr is an The body, as an insfiument of expression. rddds
inner iinpu se from which molemeni originares. Thir can be
to be
releaed and become mob e but more than physicat reteas€,
rh€
isolated and expressed physicatly, psVchotogicaIy, or bo1h. c-10r nr{ bp.!r,LioLs or '.. po*,or11ie)
Each efiorthasrhree characterisiics: weight, direfiion anct speed. ord" roe\or*! ider'.-hoLSnr)dld "1d ir:tatrons ir
fept 19.a5a(c-rale1 qi
There are moveme.G whlch are fast or tow, straight o. curved,
heavy or liqht, deperding on the phys'ca or psychologicat wetqhr
Snrrce ALdoff Laba., The Mastery of Movehent, p y.
molth M!.Do.ali and Evans, 1950.

noon and the rcad is rough and rugged, giving you a bumpy ride.
Howdo you feel? . . .
The jeepney stops and you get down. yau.re left atone in the
middle of the street. As you jook back and lo.th atl vau see is the
long. lang sverch ot flat and suaighr rcad. Bur hen on eithet side ot
the road you see a wide expanse of grassland. lt.s a very wide space
and you arc a/ore Explore the arcas. How do you feel now?, . .
Wafk through the lield. Then from afar yau see r,"ees. Run to
lhem . . . Now you?e in ftont of the trces. Walk through . . . n"/k
. . . vnlk . . . until you discovet that you arc in the midst of a tropicat
rcinforest.The trees are tall, You can hardty see the sun now But the
light coming frcm the sun filters through the teaves of tal trees.
Explorcthe arca. Ho$t do you feel?. . .
Suddenly you feel that an ant bit your leg. And anothet one. and

You realize that you are on top af an ant hill, and ants swarm all
over you! Run asyou teact to the ants walking all over you until Vou
find yourselt near a river. The watet seems frcsh, clean, and quiet.
What do you want to do?. . .
Yau have become sa thed yau want to rest. you see a cave
acrcss the rivet. You want to go to the cave! Go ahead, but fitst yau
,aye ao cross the riv€r. Crcssl . . . And naw, you,re facing a huge,
huge cave. Why dan't you go in? lt's getting datk. As t/oa walk inside
the cavq it gets darker and darker and darker,
Yau've been walking for a long tine and you feet that the cave is
getting smaller. You want to go back but yau can,t find you way
out. The width and the height of the cave are getting smalter and
smallet until yau feel the sides of the cave within yout rcach. The
cave cantinues to get smaller
- closet and claser, tighter and tightet.
How do you feel now? . . . Suddenly you feel something at your
leetl Could it be a - space? Lucky you, you can now get out of the
cave. But fiBt you have ta borc a hole thftush the wall. So vou bore
a holesloMy and lightly at fhst, grcdually going fastet and bsEr and
heaviet and heaviet. Fina y, the hole is getting bigger. You can at-
most get out now but there's a big stone in your way. Push it" Push it
had . . . hard . . . Now, the way is all clear. Yau get aut and vou find
40
 youtself in a flower gatden. Different ftawers are blooming.
Explorc
lhe spe€e. How do yau feet now? . . .
Then after a few more you see a huilding ta your teft.
^Run to it. . . rhen ctimb themontents,
stairs, and find yoursef nin"
raom! Now you arc back. Lie dawn again and recall your ta.
iri,iJip
vetogue. Breathe stowty and deepty, rhythmicaly. f"a
awarc
tni iior;
of the sounds and gta.Jually move. How do vou feet at tnis
i"

Notes on Facilitation

i Key phrases where participants are expected to move, a.e set jn

bo,d
face, Pay close attention to them,
- Some participants will tend to giggle or laugh, sometimes bumD into
co.partic pdlrs o. lose concenlrarion. A,wavs rerind rhe.n ti) con-
centrate. and refrain from laughinq.
tr lf a participant dozes oft wake him up gently and encourage him to

- While narrating, use a soft, modulared voice when the ston/ calls
Jor it, or a loud one if necessary, Emote, too, when
use objects for sound €ffects,
tr Keep reminding them to be aware oJ their senses, their emotions,
and
the differeni spaces they are visualizinq.
n Note down contrasting movements of partipipants that can be used
as examples during the synthesis.

Ask the participants to sit in a circle and share their travelogue

experiences. They don,t have to narrate their ,esponses
in detaiito
the travelogue, but request them to discuss any of the follow;ngl
Spaces they liked and whv
- Spaces they didn't like and why
- Spaces they were afra;d o{ and why
- Spaces they were happy with and why
Spac€s r lev teally feiL rl-ev saw dnd wly

- Spaces they could not irnagine and why

Encoura-ge the quiet participants to speak about this personal

exp*
rience, Remind them that there ;s no reason to feel about commit.
ting mistakes.

Cail three volunteers to .the cenler and ask them to re-enact a move-
ment they did which you have nored down earlier. Then deduce the
three ma;n elements that define movement and the 8 Basic Effort:
(See pase 40.)

Le! theparticipants go throughthe different effortsasa qroup. Don,t

concentrate only on hands in explo.ing each effort. use all parts of
the body Jrom head to foot. As they move the effor! tet them create
the sound that they feel is appropr;ate for it. Also accornpany the
effort with emotion.
Examples

- flick with finger

- flick with hands
-* flick with shouJder
+lick with head
- flick with chest
- flick with hips
- flick wirh leqs
41
 Then combine lhem one by one until every part of the body flicks

Remind the participants that in normal, realistic movements, otten-

times, not only one but a combination oJ two or three efforts are
made. The "isolation" oJ each eJfort here in this lesson is only for
demonstration, analysit and differentialion.
Explain that knowing the efforts will help them in recreating the
images of life on staqe.

:d!i!ji)! :Jiil !'i!:!,!i:it !,,:rl:':.r1;ij.. ? .r !,1: !j.

Objectives

o To make parricipants sensitive to the relation o{ sound and move-

ment to color, line, and shape,
o To give the participants the concrete experience of paintinq along
with the "body effort," and reatize the difference b€tween linear
marks evoked by sounds in terms o{ w€ight, direction. and sp€ed.

[Vlanila paper or brown craJt paper

Paints (water solublei
brushes

rags for cleaning

taped sounds and muslc (5 sets)

Ptepafttion of art naterials

Prepare sets of color by providing small cans with various colors per
group:

2 cans Red
2 cans Yellow
2 cans Blue
2 cans White
2 cans Black -logettonal values by diluting

1. Ask the participants to close their eves and relax. Play pre taped
music and ask them to concentrate on the mLlsic.
2. After listening to the taped music, divide lhe participants into four
groups,
3, Give each subgroup art materials. Exptain that the music will be
replayed and they will now paint according to the sounds they hear.
lnstead of their bodies moving to inlerprer the rnusic, they must now
use their materials and create lines, shapes, texture, and value to
create a paintlng that will express the ei{or1s as heard. Limit their
colors to one hue (red, yellow or blue), black and whita The group
can plan their color scheme prior to paint;ng or the exercise. Inform
them that they may move and put their mark anywhere on the
paper; but remind them, too, to be sensitive to the marks made by
others. The idea is to interact and interrelate with each other. The
resulting work will be abstract and will show lin+valu+texturc
impressions; the elforts should be seen as concrete lines, shap€s, erc.
It w;ll be a painting of efforts.
4. Ask the groupsto give titles to the;r works.
42
 -t

Notes an Facilitation

tr '*r" ':': .":::::"iXl,ii",,l,!'iii, 1,i.? l"'" ff"'l:.,",l.;'J*:'";l

'J':''";;; ;:;";;;'"'^''' "* :1""'1i1.i.""",; b'ack a"ro .,.,i,e wr'r
ole hu_:.l:,,,".
. r'- r'nq r,1e coorq Io r'l1:i"i:'1";'';1,:"'-i.'"1"
nf rne.olor. Bemi-ld rhem "u
in"'n to *r'i"""
, 'o'u
irv
''ioou"'
mixlnq the hlrE !!ith either
orac ""
lnres i' Lnat vdries lr loJdn€ss tc"ioo
. ,o Lse :n"rtuienrdr,Irul'""j",ii;;;;, ,"0'- ,r'",o,
' ,! is bes.
{ or. oi{re crr culUra "....
-.n r
""rl "fua]" o"'*" -'rsic' ooorl;r '"Js c
it' -"'"

Abiectives
ro
svnll'es:ze rne day s le"s^ns bY
^ T. .jeve'op thc od" ;ciodnrs abi"ly
iornlng rp wlrt' mini
showcases ano
th€ participants to alJp.v th€ !5eories. elemenrs.
^ To encouraqe
learneo
principles ihat they have

1. Divide the pa4:cioan","t"-t?"' n,lll'"" !!ir,

I Basic E{{ofl s rha,
, t,. :::l^T.""",0.,: ;l;:'-":,-li: :,#:i""l;i,n'"'ro. r,r,tu,. :;tuav

." ::J;: ;;::: ;; **from ;"i

:'",j",1"1 JT",',:i":'; :'ijilT#
eacn '
T:
in"mes est someone
group's topic 43
 Suggested Themes

- Fire
- Storm
- Volcanic eruplion
- Tidalwave

Give out the guidelines, as foljows:

A The showcase is from 310 5 minures;

A Be conscious of the principle of composition in blockjng,+
creation of Space and the use oJ room spacej
A Put sounds into the piece.
A Presentation should have a beginning and an end.. . , . . . .

Give lhem from 10 to 15 minures to prepare.

Notes on Facilitation

D Be available for any queslion or clarification of ideas Jor rhe show-

case, as well as {or consultation or problern-solving but r/o ,of direct
E Observe rehearsals. Srudy the dynamics of the groups, taking note o{
indivldual behavior and personality combinations.
tr Watch out for groups that tend to discuss rather than actua y

Notes on Facilitation

[] Flemind non-performlng participanls to watch as audience, for they

will tend to discuss their own compositions rather than $,?tch and
observe the other qroups.
n Encourage the audience to perceive the movements and the composi.
tions and not€ positive as well as n€gative points of the presentation,

Gather commentt questions, recommendations for each group

regarding the thow€ase. lt is best to hear what the audience has to
say {irst then the performers be{ore giving your own comments, to
encourage them to gi\,€ their observations as freely as they can.
Ask the performers about the preparations 'that they have made as
wellas their work procesg.
lf there 6re groups that had problenrs and tension is felt as observed
and described, try to polnt lhem out in the synthesis, even if this
means taking more time than originally inlended. You are not only
alter the artistic quality of the presentations but also after the group
process or healthy interaction among the panic;pants.

r Bro6kns - po!nionins of !hapes id a paficular !racei tocusin9 on whaishdud behi9hli9hrad

id downplgyins those thar shou d bs d€rdcused; posiiionins ihar shos relaronships afrono shaFs
 Ihe following guide questions may help:
A Howcome Group X had a hard time in creating?
What-happened? {As much as possjble, encou;age each
mem-
ber o{ the group to speak ou1).
What can the other members oJ the performing group
say?
lWhat can they recommend tor future working pr*"aaZ
Encouraqe each member ofthe group to speak up.
4. lfl_parLicipant ;s pinpoinled as a,,problem,, member,
encourage
oth€rs who w;tl comrent.ro speak for themselves
tou"niig
onty on their own panicular conflifi with Lhe "lonq in quei
comember
to soecirv what the "problem" memoeroiu, Lo
l:: "T-"Tll!.i!"'
ctre rts spectlic words or actions that may have affected
thei;
ream. the group that you are doing this fo improve
-lmoress,Jpon
me process and not to ernbarrass or castigate a person.

fl-l: nj:io-the*:!group
pracricdrty had 10 probtem ro speak up
5.
also.
AcKnowtedge if i1 deserves to be catred a model loigroup

6. Ask the the participanrs to recall specific things they learned

as a
w€y of reJlecting on the experiences and ing t o* tt i"ei
"t*t Thh"nw"y the "yadivi
abour any of tne exercises and group processes,
tres are summarized at the end of the dav.
7. Draw out and answer questions regardinq Lhe whote davt
acLivities
for clarification.

ryry
r, :"
,!",#
"&

!"i:;t'.1.
.rfi;
-6)'