Pe8 OHSP LM Final

Music 10 OHSP Learner’s Material
1
Quarter I: MUSIC OF THE 20TH CENTURY
CONTENT STANDARDS
The learner demonstrates understanding of...
1. The 20th century music styles and characteristic features.
PERFORMANCE STANDARDS
The learner...
1. Creates musical pieces using a particular style of the 20th century.
LEARNINGCOMPETENCIES
The learner...
1. Listens perceptively to selected 20th century music.

2. Describes distinctive musical elements of given pieces in 20th
century styles.
3. Relates 20th century music to its historical and cultural
background.
4. Explains the performance practice (setting, composition, role
of composers/performers, and audience) of 20th century music.
5. Sings melodic fragments of given Impressionism period pieces.
6. Explores other arts and media that portray 20th century
elements through video films or live performances.
7. Creates short electronic and chance music pieces using
knowledge of 20th century styles.
From the Department of Education curriculum for MUSIC Grade 10 (2014)

2
Music of the 20th Century
PRE - ASSESSMENT
Directions: Encircle the letter of the correct answer.
1. It created a mood rather than a definite picture; it also applied suggested rather
than depicted reality.
a. Impressionism b. Expressionism c. Neo-classicism d. Modern
Nationalism
2. Who is a neo-classicist admired the musical style of Franz Lizt, Richard
Strauss, Clade Debussy, and Igor Stravinsky but eventually shed influences in
favor of Hungarian folk and peasant themes?
a. Arnold Schoenberg b. Bela Bartok c. Maurice Ravel d. Sergei
Prokofieff
3. A partial return to a classical form of writing music with carefully modulated
dissonances. It made use of a freer seven note diatonic scale.
a. Impressionism b. Expressionism c. Neo-classicism d. Modern
Nationalism
4. Who is the composer from the United States with his truly unconventional
composition techniques and feature the widest array of sound from the most
inventive sources?
a. John Cage b. George Gershwin c. Leonard Bernstein d. Edgard
Varese
5. He is a French composer known as the Father of Electronic music.
a. John Cage b. George Gershwin c. Leonard Bernstein d. Edgard Varese
Quarter I: MUSIC OF THE 20TH CENTURY
T he start of the 20th century saw the rise of distinct musical styles that reflected a
move away from the conventions of earlier classical music. These new styles were:
impressionism, expressionism, neo-classicism, avant garde music, and modern
nationalism.
The distinct musical styles of the 20th century would not have developed if not for
the musical genius of individual composers such as Claude Debussy, Maurice Ravel,
Arnold Schoenberg, Bela Bartok, Igor Stravinsky, Sergei Prokofieff, and George
Gershwin stand out as the moving forces behind the innovative and experimental
styles mentioned above. Coming from different nations—France, Austria, Hungary,
Russia, and the United States— these composers clearly reflected the growing
globalization of musical styles in the 20th century.
IMPRESSIONISM
One of the earlier but concrete forms declaring the entry of 20th century music was known as
impressionism. It is a French movement in the late 19th and early 20th century. The sentimental
melodies and dramatic emotionalism of the preceding Romantic Period (their themes and
melody are easy to recognize and enjoy) were being replaced in favor of moods and

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impressions. There is an extensive use of colors and effects, vague melodies, and innovative
chords and progressions leading to mild dissonances.
Sublime moods and melodic suggestions replaced highly expressive and program music, or
music that contained visual imagery. With this trend came new combinations of extended
chords, harmonies, whole tone, chromatic scales, and pentatonic scales. Impressionism was
an attempt not to depict reality, but merely to suggest it. It was meant to create an emotional
mood rather than a specific picture. In terms of imagery, impressionistic forms were
translucent and hazy, as if trying to see through a rain-drenched window.
In impressionism, the sounds of different chords overlapped lightly with each other to
produce new subtle musical colors. Chords did not have a definite order and a sense
of clear resolution. Other features include the lack of a tonic-dominant relationship
which normally gives the feeling of finality to a piece, moods and textures, harmonic
vagueness about the structure of certain chords, and use of the whole-tone scale. Most
of the impressionist works centered on nature and its beauty, lightness, and brilliance.
A number of outstanding impressionists created works on this subject.
The impressionistic movement in music had its foremost proponents in the Fnchre
composers Claude Debussy and Maurice Ravel. Both had developed a particular style
of composing adopted by many 20th century composers. Among the most famous
luminaries in other countries were Ottorino Respighi (Italy), Manuel de Falla and Isaac
Albeniz (Spain), and Ralph Vaughan Williams (England).

4
MUSIC  Quarter I
CLAUDE DEBUSSY (1862–1918)
One of the most important and influential of the 20th century

composers was Claude Debussy. He was the primary
exponent of the impressionist movement and the focal point
for other impressionist composers. He changed the course of
musical development by dissolving traditional rules and
conventions into a new language of possibilities in harmony,
rhythm, form, texture, and color.
Debussy was born in St. Germain-en-Laye in France on August
22,1862.Hisearlymusical talents were channel edintopiano lessons.
He entered the Paris Conservatory in 1873. He gained a reputation
as an erratic pianist and a rebel in theory and harmony.
He added other systems of musical composition because of his
musical training. In 1884, he won the top prize at the Prix de Rome
competition with his composition L’ Enfant Prodigue (The Prodigal
Son). This enabled him to study for two years in Rome, where he got
exposed to the music of Richard Wagner, specifically his opera Tristan
und Isolde, although he did not share the latter’s grandiose style.
Debussy’s mature creative period was represented by the following works:

  Ariettes Oubliees
  Prelude to the Afternoon of a Faun
 La Mer (1905)—a highly imaginative and atmospheric symphonic work
 for orchestra about the sea
 Images, Suite Bergamasque, and Estampes—his most popular piano
compositions; a set of lightly textured pieces containing his signature work
Claire de Lune (Moonlight)
His musical compositions total more or less 227 which include orchestral music,
chamber music, piano music, operas, ballets, songs, and other vocal music.

5
The creative style of Debussy was characterized by his unique approach to the various
musical elements. Debussy’s compositions deviated from the Romantic Period and is
clearly seen by the way he avoided metric pulses and preferred free form and developed his
themes. Debussy’s western influences came from composers Franz Liszt and Giuseppe
Verdi. From the East, he was fascinated by the Javanese gamelan that he had heard at
the 1889 Paris Exposition. The gamelan is an ensemble with bells, gongs, xylophone,
and occasional vocal parts which he later used in his works to achieve a new sound.
From the visual arts, Debussy was influenced by Monet, Pissarro, Manet, Degas, and
Renoir; and from the literary arts, by Mallarme, Verlaine, and Rimbaud. Most of his close
friends were painters and poets who significantly influenced his compositions. His role as
the “Father of the Modern School of Composition” made its mark in the styles of the
later 20th century composers like Igor Stravinsky, Edgar Varese, and Olivier Messiaen.
Debussy spent the remaining years of his life as a critic, composer, and performer. He
died in Paris on March 25, 1918 of cancer at the height of the First World War.
CLAIRE DE LUNE
(MOONLIGHT)
SuiteBergamasque (Excerpt)
Claude Debussy

6
MUSIC  Quarter I
MAURICE RAVEL (1875–1937)
Joseph Maurice Ravel was born in Ciboure,

France to a Basque mother and a Swiss father.
He entered the Paris Conservatory at the age of
14 where he studied with the eminent French
composer Gabriel Faure. During his stint with
the school where he stayed until his early 20’s,
he had composed a number of masterpieces.
The compositional style of Ravel is mainly

characterized by its uniquely innovative but not
atonal style of harmonic treatment. It is defined
with intricate and sometimes modal melodies
and extended chordal components. It demands
considerable technical virtuosity from the
performer which is the character, ability, or skill of a virtuoso—a person who excels in
musical technique or execution. The harmonic progressions and modulations are not only musically
satisfying but also
pleasantly dissonant and elegantly sophisticated. His refined delicacy and color,
contrasts and effects add to the difficulty in the proper execution of the musical
passages. These are extensively used in his works of a programmatic nature, wherein
visual imagery is either suggested or portrayed. Many of his works deal with water in
its flowing or stormy moods as well as with human characterizations.
Ravel’s works include the following:
 Pavane for a Dead Princess (1899), a slow but lyrical requiem


 Jeux d’Eau or Water Fountains (1901)
  String Quartet (1903)
  Sonatine for Piano (c.1904)
 Miroirs (Mirrors), 1905, a work for piano known for its harmonic
 evolution and imagination,
 Gaspard de la Nuit (1908), a set of demonic-inspired pieces based on the
poems of Aloysius Bertrand which is arguably the most difficult piece in
 the piano repertoire.
  These were followed by a number of his other significant works, including
 Valses Nobles et Sentimentales (1911)
 Le Tombeau de Couperin (c.1917), a commemoration of the musical
advocacies of the early 18th century French composer Francois Couperin, 
  Rhapsodie Espagnole
 Bolero

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 Daphnis et Chloe (1912), a ballet commissioned by master

choreographer Sergei Diaghilev that contained rhythmic diversity,
 evocation of nature, and choral ensemble
 La Valse (1920), a waltz with a frightening undertone that had been
 composed for ballet and arranged as well as for solo and duo piano.
 The two piano concerti composed in 1929 as well as the violin virtuosic
piece Tzigane (1922) total the relatively meager compositional output of
Ravel, approximating 60 pieces for piano, chamber music, song cycles,
ballet, and opera.
Ravel was a perfectionist and every bit a musical craftsman. He strongly adhered to
the classical form, specifically its ternary structure. A strong advocate of Russian
music, he also admired the music of Chopin, Liszt, Schubert, and Mendelssohn. He
died in Paris in 1937.
BOLERO
Transcriptions for Two Pianos (Excerpt)
Maurice Ravel
Copyright by everynote.com

8
MUSIC  Quarter I
Comparative Styles of Debussy and Ravel
As the two major exponents of French Impressionism in music, Debussy and Ravel had
crossed paths during their lifetime although Debussy was thirteen years older than Ravel.
While their musical works sound quite similar in terms of their harmonic and textural
characteristics, the two differed greatly in their personalities and approach to music.
Whereas Debussy was more spontaneous and liberal in form, Ravel was very attentive to
the classical norms of musical structure and the compositional craftsmanship. Whereas
Debussy was more casual in his portrayal of visual imagery, Ravel was more formal and
exacting in the development of his motive ideas.
EXPRESSIONISM
ARNOLD SCHOENBERG (1874–1951)
Arnold Schoenberg was born in a working-class

suburb of Vienna, Austria on September 13, 1874.
He taught himself music theory, but took lessons in
counterpoint. German composer Richard Wagner
influenced his work as evidenced by his symphonic
poem Pelleas et Melisande, Op 5 (1903), a
counterpoint of Debussy’s opera of the same
title. From the early influences of Wagner, his tonal
preference gradually turned to the dissonant and
atonal, as he explored the use of chromatic
harmonies.
Although full of melodic and lyrical interest, his music

is also extremely complex, creating heavy demands on
the listener. His works were met with extreme
reactions, either strong hostility from the general
public or enthusiastic acclaim from his supporters.
Schoenberg is credited with the establishment of the twelve-tone system. His works
include the following:
  Verklarte Nacht, Three Pieces for Piano, op. 11
  Pierrot Lunaire,
  Gurreleider
 Verklarte Nacht (Transfigured Night, 1899), one of his earliest
successful pieces, blends the lyricism, instrumentation, and melodic
beauty of Brahms with the chromaticism and construction of Wagner.
His musical compositions total more or less 213 which include concerti, orchestral music,
piano music, operas, choral music, songs, and other instrumental music. Schoenberg died
on July 13, 1951 in Los Angeles, California, USA where he had settled since 1934.
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THREE PIANO PIECES, OP. 11, NO. 1

(Excerpt)
Arnold Schoenberg
Copyright by everynote.com

10
IGOR STRAVINSKY (1882–1971)
Igor Stravinsky stands alongside fellow-composer Schoenberg,

painter Pablo Picasso, and literary figure James Joyce as one of the
great trendsetters of the 20th century.
He was born in Oranienbaum (now

Lomonosov), Russia on June 17, 1882.
Stravinsky’s early music reflected the
influence of his teacher, the Russian composer
Nikolai Rimsky-Korsakov. But in his first
successful masterpiece, The Firebird Suite
(1910), composed for Diaghilev’s Russian
Ballet, his skillful handling of material and
rhythmic inventiveness went beyond anything
composed by his Russian predecessors. He
added a new ingredient to his nationalistic
musical style. The Rite of Spring (1913) was
another outstanding work. A new level of
dissonance was reached and the sense of
tonality was practically abandoned.
Asymmetrical rhythms successfully portrayed
the character of a
solemn pagan rite. When he left the country for the United States in
1939, Stravinsky slowly turned his back on Russian nationalism and
cultivated his neo-classical style.
Stravinsky adapted the forms of the18th century with his contemporary style of writing.
Despite its “shocking” modernity, his music is also very structured, precise,
controlled, full of artifice, and theatricality. Other outstanding works include the
ballet Petrouchka (1911), featuring shifting rhythms and polytonality, a signature
device of the composer. The Rake’s Progress (1951), a full-length opera, alludes
heavily to the Baroque and Classical styles of Bach and Mozart through the use of the
harpsichord, small orchestra, solo and ensemble numbers with recitatives stringing
together the different songs.
Stravinsky’s musical output approximates 127 works, including

concerti, orchestral music, instrumental music, operas, ballets, solo
vocal, and choral music. He died in New York City on April 6,
1971.

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21ST CENTURY MUSIC TRENDS
Musiccentury
scholars predict that the innovative and experimental developments of 20th
classical music will continue to influence the music of the 21st century.
With so many technical and stylistic choices open to today’s composers, it seems
there is
no obstacle to their creativity and to the limits of their imagination. And yet,
this same
freedom that has allowed such varied musical experimentation in recent years
has also caused contemporary classical music—or music utilizing the classical
techniques of composition—to lose touch with its audience and to lose its clear
role in today’s society.
Presently, modern technology and gadgets put a great impact on all types of
music. However, what still remains to be seen is when this trend will shift,
and what the distinct qualities of emerging classical works will be.
SUMMARY
Thenotearlyquitehalfasofextreme
the 20th century also gave rise to new musical styles, which were
as the electronic, chance, and minimalist styles that arose
later.
Thesenewstyleswereimpressionism,expressionism, neo-classicism,avantgardemusic,
and modern nationalism.
Impressionism made use of the whole-tone scale. It also applied suggested,
rather than depicted, reality. It created a mood rather than a definite picture.
It had a translucent and hazy texture; lacking a dominant-tonic relationship.
It made use of overlapping chords, with 4th, 5th, octaves, and 9th intervals,
resulting in a non-traditional harmonic order and resolution.
Expressionism revealed the composer’s mind, instead of presenting an

impression of the environment. It used atonality and the twelve-tone scale,
lacking stable and conventional harmonies. It served as a medium for
expressing strong emotions, such as anxiety, rage, and alienation.

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MUSIC  Quarter I
A number of outstanding composers of the 20th century each made their own distinctive
mark on the contemporary classical music styles that developed. Claude Debussy and
Maurice Ravel were the primary exponents of impressionism, while Arnold
Schoenberg was the primary exponent of expressionism, with the use of the twelve-tone
scale and atonality. Igor Stravinsky was also an expressionist and a neo-classical
composer. He incorporated nationalistic elements in his music, known for his skillful
handling of materials and his rhythmic inventiveness.
Activity #1 Experience Impressionism
1. Look for a quiet place where you can see a green field, forest or any available
scenery. Look as far as you can, observe and describe what you the view.
2. Write down your observation and description then try to hum or imagine a song that
will describe your experience.
3. Your personal experience with this activity is your taste of impressionism in music.
Activity #2 Express Yourself
1. With the assistance of your teacher, listen attentively to any of these musical piece:
- Schoenberg: Verklärte Nacht, Op.4 - Boulez.

- BPYO: SCHOENBERG Five Pieces for Orchestra, II. The Past
- Schoenberg - String Quartet no. 2 op. 10 dubstep remix (DJ Kaili)
2. Write a storyline based on your chosen listening material. Once you’re done, turn on
the music and read your story aloud.
.

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20TH CENTURY MUSICAL STYLES:
ELECTRONIC and CHANCE MUSIC
Thelived,
musical styles that evolved in the modern era were varied. Some of these were short-
being experimental and too radical in nature, while others found an active
blend between the old and the new.
New inventions and discoveries of science and technology lead to continuing developments
in the field of music. Technology has produced electronic music devices such as cassette tape
recorders, compact discs and their variants, the video compact disc (VCD) and the
digital video disc (DVD), MP3, MP4, ipod, iphone, karaoke players, mobile phones
and synthesizers. These devices are used for creating and recording music to add to or
to replace acoustical sounds.

14
NEW MUSICAL STYLES
Electronic Music
Theloudspeakers
capacity of electronic machines such as synthesizers, amplifiers, tape recorders, and
to create different sounds was given importance by 20th century
composers like Edgar Varese, Karlheinz Stockhausen, and Mario Davidovsky.
Music that uses the tape recorder is called musique concrete, or concrete music. The
composer records different sounds that are heard in the environment such as the
bustle of traffic, the sound of the wind, the barking of dogs, the strumming of a guitar,
or the cry of an infant. These sounds are arranged by the composer in different ways
like by playing the tape recorder in its fastest mode or in reverse. In musique
concrete, the composer is able to experiment with different sounds that cannot be
produced by regular musical instruments such as the piano or the violin.
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.

15
MUSIC  Quarter I
EDGARD VARESE (1883–1965)
Edgard (also spelled Edgar) Varèse was born on December

22, 1883. He was considered an “innovative French-born
composer.” However, he spent the greater part of his life and
career in the United States, where he pioneered and created
new sounds that bordered between music and noise.
The musical compositions of Varese are characterized by an

emphasis on timbre and rhythm. He invented the term
“organized sound,” which means that certain timbres and
rhythms can be grouped together in order to capture a whole
new definition of sound. Although his complete surviving
works are scarce, he has been recognized to have influenced
several major composers of the late 20th century.
Varèse’s use of new instruments and electronic resources made him the “Father of Electronic
Music” and he was described as the “Stratospheric Colossus of Sound.” His
musical compositions total around 50, with his advances in tape-based sound proving
revolutionary during his time. He died on November 6, 1965.

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KARLHEINZ STOCKHAUSEN (1928– )
Karlheinz Stockhausen is a central figure in

the realm of electronic music. Born in Cologne,
Germany, he had the opportunity to meet
Messiaen, Schoenberg, and Webern, the
principal innovators at the time. Together with
Pierre Boulez, Stockhausen drew inspiration
from these composers as he developed his style
of total serialism. Stockhausen’s music was
initially met with resistance due to its heavily
atonal content with practically no clear melodic or rhythmic sense. Still, he continued
to experiment with musique concrete. Some of his works include Gruppen (1957), a
piece for three orchestras that moved music through time and space; Kontakte (1960),
a work that pushed the tape machine to its limits; and the epic Hymnen (1965), an
ambitious two-hour work of 40 juxtaposed songs and anthems from around the world.
The climax of his compositional ambition came in 1977 when he
announced the creation of Licht (Light), a seven-part opera (one for each day of
the week) for a gigantic ensemble of solo voices, solo instruments, solo dancers,
choirs, orchestras, mimes, and electronics. His recent Helicopter String Quartet,
in which a string quartet performs whilst airborne in four different helicopters,
develops his long-standing fascination with music which moves in space. It has
led him to dream of concert halls in which the sound attacks the listener from
every direction. Stockhausen’s works total around 31. He presently resides in
Germany.
Chance Music
C hance music refers to a style wherein the piece always sounds different at every
performance because of the random techniques of production, including the use of ring
modulators or natural elements that become a part of the music. Most of the sounds emanate
from the surroundings, both natural and man-made, such as honking cars, rustling leaves,
blowing wind, dripping water, or a ringing phone. As such, the combination of
external sounds cannot be duplicated as each happens by chance.
An example is John Cage’s Four Minutes and Thirty-Three Seconds (4’33") where
the pianist merely opens the piano lid and keeps silent for the duration of the piece.
The audience hears a variety of noises inside and outside the concert hall amidst the
seeming silence

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JOHN CAGE (1912–1992)
John Cage was known as one of the 20th century composers

with the widest array of sounds in his works. He was born in
Los Angeles, California, USA on September 5, 1912 and
became one of the most original composers in the history of
western music. He challenged the very idea of music by
manipulating musical instruments in order to achieve new
sounds. He experimented with what came to be known as
“chance music.”
In one instance, Cage created a “prepared” piano, where screws

and pieces of wood or paper were inserted between the piano
strings to produce different percussive possibilities.
The prepared piano style found its way into Cage’s Sonatas
and Interludes (1946–1948), a cycle of pieces containing a wide range of sounds, rhythmic
themes, and a hypnotic quality. His involvement with Zen Buddhism inspired him to
compose Music of Changes (1951), written for conventional piano, that employed chance
compositional processes.
He became famous for his composition Four Minutes and 33 Seconds (4’33"),
a chance musical work that instructed the pianist to merely open the piano lid
and remain silent for the length of time indicated by the title. The work was
intended to convey the impossibility of achieving total silence, since surrounding
sounds can still be heard amidst the silence of the piano performance.
Cage also advocated bringing real-life experiences into the concert hall. This reached its
extreme when he composed a work that required him to fry mushrooms on stage in order
to derive the sounds from the cooking process. As a result of his often irrational ideas like
this, he developed a following in the 1960s. However, he gradually returned to the more
organized methods of composition in the last 20 years of his life.
More than any other modern composer, Cage influenced the development of modern
music since the 1950s. He was considered more of a musical philosopher than a
composer. His conception of what music can and should be has had a profound impact
upon his contemporaries. He was active as a writer presenting his musical views with
both wit and intelligence. Cage was an important force in other artistic areas especially
dance and musical theater. His musical compositions total around 229. Cage died in
New York City onAugust12,1992.

18
MUSIC  Quarter I
SUMMARY
T he new musical styles created by 20th century classical composers were truly unique and
innovative. They experimented with the elements of rhythm, melody, harmony, tempo, and
timbre in daring ways never attempted before. Some even made use of electronic devices
such as synthesizers, tape recorders, amplifiers, and the like to introduce and enhance sounds
beyond those available with traditional instruments. Among the resulting new styles were
electronic music and chance music. These expanded the concept of music far beyond the
conventions of earlier periods, and challenged both the
new composers and the listening public.
As the 20th century progressed, so did the innovations in musical styles as seen in the
works of these composers. From France, Edgard Varese’s use of new instruments and
electronic resources led to his being known as the “Father of Electronic Music” and a
description of him as “The Stratospheric Colossus of Sound.” From Germany, there was
Karlheinz Stockhausen, who further experimented with electronic music and
musique concrete. Stockhausen’s electronic sounds revealed the rich musical
potential of modern technology. From the United States, there was John Cage with
his truly unconventional composition techniques. Cage’s works feature the widest
array of sounds from the most inventive sources.
Activity 1 The Who
1. Who was the French composer known as the “Father of Electronic Music?
2. What are some of the new musical approaches of Cage?
3. What is meant by musique concrete used by Stockhausen?
4. Give an example of a musical work by Varese, Stockhausen, and Cage. Write
your answers in the table below.
Composer Musical Work
Varese
Stockhausen
Cage

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Activity #2
Experimentation with the Chance, Electronic Music and Musique Concrete
1. Chance Music – Put small items inside a bag. Include coins, pens, pins,
small bells, and other particles with percussive sounds. Pour the bag’s
contents on a hard surface and record the sounds that are produced with
a cellphone or any available device. Put the items in a glass jar and
shake it while once again recording the sounds being produced. Note the
changes between the two sets of sounds recorded.
2. Electronic Music/Musique Concrete – sing simple song using

electronic gadget and record with your cellphone.

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Post Assessment
Multiple choice: Write the letter of the correct answer.
1. One of the most important and influential composer of the 20 th century

a. Claude Debussy b. Arnold Schoenberg c. Maurice Ravel d. Igor Stravinsky
2. Who is the composer entered at the Paris of Conservatory of music at the age of 14 with
the eminent French composer Gabriel Faure?
a. Claude Debussy b. Arnold Schoenberg c. Maurice Ravel d. Igor
Stravinsky
3. He stand alongside fellow composer Schoenberg, painter Pablo Picasso literary figure
James Joyce as one the great trend setters of the 20 th century.
a. Claude Debussy b. Bela Bartok c. Maurice Ravel d. Igor Stravinsky
4. It used atonality and the 12 tone scale, lacking stable and conventional harmonies.
a. Impressionism b. Expressionism c. Neo-classicism d. Modern Nationalism
5. Who is the “Father of American Jazz” and works range from classical compositions to
songs and film?
a. John Cage b. George Gershwin c. Leonard Bernstein d. Edgard Varese
Key to Correction
Pre-test Post-test
1. A 1. A
2. B 2. C
3. C 3. D
4. A 4. B
5. D 5. B
Prepared by:
RHEBET S. REMOT NANCY N. REBANCOS

Rodriguez NHS Sorsogon NHS

21
Quarter II: AFRO-LATIN AMERICAN
AND POPULAR MUSIC
CONTENT STANDARDS

1. Characteristic features of Afro-Latin American music and Popular
music.
The learner...
1. Performs vocal and dance forms of Afro-Latin American music
and selections of Popular music.
The learner...
1. Observes dance styles, instruments, and rhythms of Afro Latin
American and popular music through video, movies and live
performances.
2. Describes the historical and cultural background of Afro-Latin
American and popular music.
3. Listens perceptively to Afro-Latin American and popular music.
4. Dances to different selected styles of Afro-Latin American and
popular music.
5. Analyzes musical characteristics of Afro-Latin American and
popular music.
6. Sings selections of Afro-Latin American and popular music in
appropriate pitch, rhythm, style, and expression.
7. Explores ways of creating sounds on a variety of sources suitable
to chosen vocal and instrumental selections.
8. Improvises simple vocal/instrumental accompaniments to selected
songs.
9. Choreographs a chosen dance music.
10. Evaluates music and music performances using knowledge of
musical elements and style.
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22
MUSIC  Quarter II
Pre-assessment
Multiple Choice: Write the letter of the correct answer.

1. A term used to describe the fusion of West African with black American music.
a. Afro beat b. Apala c. Axe d. Jit
2. A dance from African origin which evolved into an African Brazilian favorite in the working
class and slum districts of Rio de Janiero
a. Chaha b. Rumba c. Samba d. Tango
3. Music of the populace similar to traditional folk music of the past.
a. Ballads b. Folk Music c. Rock n Roll d. Popular Music
4. It refers to Philippine pop song.
a. Jazz b. OPM c. Folk music d. Disco
5. It pertain to rock music that was more danceable, thus leading to the establishment of
venues from public dancing.
a. Jazz b. OPM c. Folk music d. Disco

23
MUSIC OF AFRICA
M usic has always been an important part in the daily life of the African, whether for
work, religion, ceremonies, or even communication. Singing, dancing, hand clapping and the
beating of drums are essential to many African ceremonies, including those for birth, death,
initiation, marriage, and funerals. Music and dance are also important
to religious expression and political events.
However, because of its wide influences on global music that has permeated contemporary
American, Latin American, and European styles, there has been a growing interest in its own
cultural heritage and musical sources. Of particular subjects of researches are its rhythmic
structures and spiritual characteristics that have led to the birth of jazz forms.
African music has been a collective result from the cultural and musical diversity of
the more than 50 countries of the continent. The organization of this continent is a
colonial legacy from European rule of the different nations up to the end of the 19 th
century, whose vastness has enabled it to incorporate its music with language,
environment, political developments, immigration, and cultural diversity.
TRADITIONALMUSICOFAFRICA
African traditional music is largely functional in nature, used primarily in ceremonial
rites, such as birth, death, marriage, succession, worship, and spirit invocations. Others
are work related or social in nature, while many traditional societies view their music as
entertainment. It has a basically interlocking structural format, due mainly to its
overlapping and dense textural characteristics as well as its rhythmic complexity. Its
many sources of stylistic influence have produced varied characteristics and genres.
Some Types of African Music
Afrobeat
Afrobeat is a term used to describe the fusion
of West African with black American music.
Apala (Akpala)
Apala is a musical genre from Nigeria in the
Yoruba tribal style to wake up the worshippers
after fasting during the Muslim holy feast of
Ramadan. Percussion instrumentation includes
the rattle (sekere), thumb piano (agidigbo), bell
(agogo), and two or three talking drums. Yoruba Apala Musicians

24
Afro-Latin American and Popular Music
Axe
Axe is a popular musical genre from Salvador, Bahia, and Brazil. It fuses the Afro-
Caribbean styles of the marcha, reggae, and calypso.
Jit
Jit is a hard and fast percussive Zimbabwean dance
musicplayedondrumswithguitaraccompaniment,
influenced by mbira-based guitar styles.
Jive
Jive is a popular form of South African music
featuring a lively and uninhibited variation of
the jitterbug, a form of swing dance.
Juju
Juju is a popular music style from Nigeria that relies on the traditional Yoruba
rhythms, where the instruments in Juju are more Western in origin. A drum kit,
keyboard, pedal steel guitar, and accordion are used along with the traditional dun-
dun (talking drum or squeeze drum).
39
25
Kwassa Kwassa
Kwassa Kwassa is a dance style begun in Zaire
in the late 1980’s, popularized by Kanda
Bongo Man. In this dance style, the hips
move back and forth while the arms move
following the hips.
Marabi
Marabi is a South African three-chord
township music of the 1930s-1960s
which evolved into African Jazz.
Possessingakeyboardstylecombining American jazz, ragtime and blues with African roots, it is
characterized by simple chords in varying vamping patterns and repetitive harmony over an
extended period of time to allow the dancers more time on the dance floor.
LATIN AMERICAN MUSIC INFLUENCED BY AFRICAN MUSIC
Reggae
Reggae is a Jamaican sound dominated by bass guitar
and drums. It refers to a particular music style that
was strongly influenced by traditional mento and
calypso music, as well as American jazz, and rhythm
and blues. The most recognizable musical elements of
reggae are its offbeat rhythm and staccato chords.
Salsa
Salsa music is Cuban, Puerto Rican, and
Colombian dance music. It comprises various
musical genres including the Cuban son montuno,
guaracha, chachacha, mambo and bolero.

26
Afro-Latin American and
Popular Music
Samba
Samba is the basic underlying rhythm that typifies most Brazilian music. It is
a lively and Rhythmical dance and music with three steps to every bar making
the Samba feel like a timed dance. There is a set 4of dances—rather than a
single dance—that define the Samba dancing scene in Brazil. Thus, no one
dance can be claimed with certainty as the “original” Samba style.
Soca
Soca is a modern Trinidadian and Tobago
pop music combining “soul” and “calypso”
music.
Were
This is Muslim music performed often as a
wake-up call for early breakfast and
prayers during Ramadan celebrations.
Relying on pre-arranged music, it fuses the
African and European music styles with
particular usage of the natural harmonic
series.
Zouk
Zouk is fast, carnival-like hythmic music, from
the Creole slang word for ‘party,’ originating in
the Carribean Islands
of Guadaloupe and Martinique and popularized in the
1980’s. It has a pulsating beat supplied by the gwo ka and

27
VOCAL FORMS OF AFRICAN MUSIC
Maracatu
Maracatu first surfaced in the

African state of Pernambuco,
combining the strong rhythms of
African percussion instruments
with Portuguese melodies. The
maracatu groups were called
“nacoes” (nations) who paraded
with a drumming ensemble
numbering up to 100,
accompanied by a singer,
chorus, and a coterie of dancers.
Maracatu dance
Musical instruments used in Maracatu
The Maracatu uses mostly percussion instruments such as the alfaia,taro land caixa-de-guerra,
gongue, agbe, and miniero. The alfaia is a large wooden drum that is rope-tuned,
complemented by the tarol which is a shallow snare drum and the caixa-de-guerra which is a
war-like snare. Providing the clanging sound is the gongue, a metal cowbell. The shakers are
represented by the agbe, a gourd shaker covered by beads, and the miniero or ganza, a metal
cylindrical shaker filled with metal shot or small dried seeds called “Lagrima fre Nossa
Senhora.”
Alfaia Drum Tarol Agbe Sakere
Caixa Miniero or Ganza Gongue

28
Blues
The blues is a musical form of the late 19th century that has had deep roots in African-
American communities. These communities are located in the so-called “Deep South”
of the United States. The slaves and their descendants used to sing as they worked in
the cotton and vegetable fields.
The notes of the blues create an expressive and soulful sound. The feelings that are
evoked are normally associated with slight degrees of misfortune, lost love,
frustration, or loneliness. From ecstatic joy to deep sadness, the blues can
communicate various emotions more effectively than other musical forms.
Noted performers of the Rhythm and Blues genre are Ray

Charles, James Brown, Cab Calloway, Aretha Franklin,
and John Lee Hooker; as well as B.B. King, Bo Diddley,
Erykah Badu, Eric Clapton, Steve Winwood, Charlie
Musselwhite, Blues Traveler, Jimmie Vaughan, and Jeff
Baxter. Examples of blues music are
the following: Early Mornin’, A House is Not a Home
andBillie’sBlues.
RayCharles
Soul
Soul music was a popular music genre of the 1950’s and 1960’s. It originated in the
United States. It combines elements of African-American gospel music, rhythm and blues,
and often jazz. The catchy rhythms are accompanied by handclaps and extemporaneous
body moves which are among its important features. Other characteristics include “call
and response” between the soloist and the chorus, and an especially tense and powerful
vocal sound.
Some important innovators whose recordings in the 1950s

contributed to the emergence of soul music included Clyde
McPhatter, Hank Ballard, and Etta James. Ray Charles and
Little Richard (who inspired Otis Redding) and James
Brown were equally influential. Brown was known as the
“Godfather of Soul,” while Sam
Cooke and Jackie Wilson are also
James Brown often acknowledged as “soul
fore fathers.” Examples of soul music
are the following: Ain’t No Mountain
Etta James
High Enough, Ben, All I Could Do is
Cry, Soul to Soul, and Becha by Golly,
Wow.

29
Spiritual
The term spiritual, normally associated with a deeply religious person, refers here to a Negro
spiritual, a song form by African migrants to America who became enslaved by its white
communities. This musical form became their outlet to vent their loneliness and anger, and is
a result of the interaction of music and religion from Africa with that of America. The texts
are mainly religious, sometimes taken from psalms of Biblical passages, while the music
utilizes deep bass voices. The vocal inflections, Negro accents, and dramatic dynamic
changes add to the musical interest and effectiveness of the performance. Examples of
spiritual music are the following: We are Climbing Jacob’s Ladder, Rock My Soul, When
the Saints Go Marching In, and Peace Be Still.
Call and Response
The call and response method is a succession of two distinct musical phrases usually rendered by different
musicians, where the second phrase acts as a direct commentary on or response to the first. Much like the
question and answer sequence in human communication, it also forms a strong resemblance to the verse-
chorus form in many vocal compositions. Examples of call and response songs are the following:Mannish
Boy, one of the signature songs by Muddy Waters; and School Day - Ring, Ring Goes the
Bell by Chuck Berry.
MUSICAL INSTRUMENTS OF AFRICA
African music includes all the major instrumental genres of western music, including
strings, winds, and percussion, along with a tremendous variety of specific African
musical instruments for solo or ensemble playing.
Classification of Traditional African Instruments
A. Idiophones
These are percussion instruments that are either struck with a mallet or against
one another.
1. Balafon - The balafon is a West

African xylophone. It is a pitched
percussion instrument with bars made
from logs or bamboo.
The xylophone is originally an Asian

instrument that follows the structure of a piano. It came from Madagascar
toAfrica,thentotheAmericas andEurope.

30
2. Rattles - Rattles are made of seashells, tin,
basketry, animal hoofs, horn, wood, metal bells,
cocoons, palm kernels, or tortoise shells. These
rattling vessels may range from single to several
objects that are either joined or suspended in
such a way as they hit each other.
3. Agogo - The agogo is a single bell or multiple bells that had its origins in
traditional Yoruba music and also in the samba baterias (percussion)
ensembles. The agogo may be called “the
oldest samba instrument based on West
African Yoruba single or double bells.” It
has the highest pitch of any of the bateria
instruments.
4. Atingting Kon - These are slit gongs used to

communicate between villages. They were carved
out of wood to resemble ancestors and had a “slit
opening” at the bottom. In certain cases, their sound
could carry for miles through the forest and even
across water to neighboring islands. A series of gong
“languages” were composed of beats and pauses,
making it possible to send highly specific messages.
5. Slit drum - The slit drum is a hollow percussion

instrument. Although known as a drum, it is not a true
drum but is an idiophone.
It is usually carved or constructed from bamboo or wood

into a box with one or more slits in the top. Most slit
drums have one slit, though two and three slits (cut
into the shape of an “H”) occur. If the resultant
tongues are different in width or thicknesses, the
drum will produce two different pitches.
6. Djembe - The West African djembe (pronounced zhem-bay) is one of

the best-known African drums is. It is shaped like a large goblet and
played with bare hands. The body is carved from a hollowed trunk and is
covered in goat skin.
Log drums come in different shapes and sizes as well:

tubular drums, bowl-shaped drums, and friction drums.
Some have one head, others have two heads. The bigger the
drum, the lower the tone or pitch. The more tension in the drum
head, the higher the tone produced. These drums are played
using hands or sticks or both; and sometimes have rattling metal
31
and jingles attached to the outside or seeds and beads placed
inside the drum. They are sometimes held under the armpit or
with a sling.
7. Shekere - The shekere is a type of gourd and shell mega phone from
West Africa, consisting of a dried gourd with beads woven into a net
covering
the gourd. The agbe is another gourd drum
with cowrie shells usually strung with
white cotton thread. The
axatse is a small
gourd, held by the
neck and placed
between hand and leg.
Gourd shekere
8. Rasp - A rasp, or scraper, is a hand percussion

instrument whose sound is produced by scraping
the notches on a piece of wood (sometimes
elaborately carved) with a stick, creating a series
of rattling effects.
Antique wooden rasp
B. Membranophones
Membranophones are instruments which have vibrating animal membranes used in

drums. Their shapes may be conical, cylindrical, barrel, hour-glass, globular, or
kettle, and are played with sticks, hands, or a combination of both. African drums are
usually carved from a single wooden log, and may also be made from ceramics,
gourds, tin cans, and oil drums. Examples of these are found in the different
localities – entenga (Ganda), dundun (Yoruba), atumpan (Akan), and ngoma
(Shona), while some are constructed with wooden staves and hoops.
1. Body percussion - Africans frequently use their bodies as musical

instruments. Aside from their voices, where many of them are superb
singers, the body also serves as a drum as people clap their hands, slap
their thighs, pound their upper arms or chests, or shuffle their feet.

32
This body percussion creates exciting rhythms which also stir them to
action. Moreover, the wearing of rattles or bells on their wrists, ankles,
arms, and waists enhances their emotional response.
2. Talking drum - The talking drum is used to send messages to announce

births, deaths, marriages, sporting events, dances, initiation, or war.
Sometimes it may also contain gossip or jokes. It is believed that the
drums can carry direct messages to the spirits after the death of a
loved one.
However, learning to play messages on drums is extremely

difficult, resulting in its waning popularity. An example of
the talking drum is the luna.
Luna
C. Lamellaphone
One of the most popular African percussion

instruments is the lamellaphone, which is a set of
plucked tongues or keys mounted on a sound board.
It is known by different names according to the
regions such as mbira, karimba, kisaanj, and likembe.
Mbira (hand piano or thumb piano) - The thumb piano

or finger xylophone is of African origin and is used
throughout the continent. It
consists of a wooden board
with attached staggered metal
tines (a series of wooden, metal, or rattan tongues), plus
an additional resonator to increase its volume. It is played
by holding the instrument in the hands and plucking the
tines with the thumbs, producing a soft plucked sound.
D.Chordophones
Chordophones are instruments which produce sounds from the vibration of
strings. These include bows, harps, lutes, zithers, and lyres of various sizes.
1. Musical bow - The musical bow is the ancestor of all string instruments. It
is the oldest and one of the most widely-used string instruments of Africa.
It consists of a single string attached to

each end of a curved stick, similar to a
33
bow and arrow. The string is either
plucked or struck with another stick,
producing a percussive yet delicate
sound. The earth bow, the mouth bow,
and the resonator-bow are the
principal types of musical bows.
The earth bow, ground bow, or pit harp consist of a hole in the ground, a
piece of flexible wood and a piece of chord. The musician plucks the
taut string to accompany his singing. When the half gourd is not buried,
the performer holds the instrument very tightly under his knee flat side
down, so that the chord puts enough tension on the wood to bend it into
the shape of a hunting bow.
A more advanced form of ground bow is made from a log, half a gourd,
a flat piece of wood, and cord. The wooden strip is driven firmly into
one end of the log and the half gourd is fastened to the log about 2 feet
away from the wooden strip. The cord, fastened from the wooden strip
to the gourd, is stretched so tightly into the shape of a bow. The player
holds the instrument on the ground by placing one leg across the log
between the resonating gourd and the wooden strip.
2. Lute (konting, khalam, and the nkoni ) - The lute, originating from the Arabic
states, is shaped like the modern guitar and played in similar fashion.
It has a resonating body, a neck, and
one or more strings which stretch
across the length of its body and
neck. The player tunes the strings
by tightening or loosening the pegs
at the top of the lute’s neck.
Nkoni

34
3. Kora - The kora is Africa's most sophisticated harp,
while also having features similar to a lute. Its body is
made from a gourd or calabash. A support for the
bridge across the opening and covered with a skin that
is held in place with studs. The leather rings around the
neck are used to tighten the 21 strings
that give the instrument a range of
over three octaves. The kora is held
upright and played with the fingers.
African kora
4. Zither - The zither is a stringed instrument with varying sizes and

shapes whose strings are stretched along its body. Among the types of
African zither are the raft or Inanga
zither from Burundi, the
tubular or Valiha zither from
Malagasy, and the harp or
Mvet zither from Cameroon.
Raft zither

35
5. Zeze - The zeze is an African fiddle played with a bow, a small wooden
stick, or plucked with the fingers. It has one or two strings, made of steel
or bicycle brake wire. It is from Sub-Saharan Africa. It is also known by
the names tzetze and dzendze,
izeze and endingidi; and
on Madagascar is called
loka nga (or lo kang o)
voatavo.
E. Aerophones
Aerophones are instruments which are produced initially by trapped vibrating

air columns or which enclose a body of vibrating air. Flutes in various sizes
and shapes, horns, panpipes, whistle types, gourd and shell megaphones, oboe,
clarinet, animal horn and wooden trumpets fall under this category.
1. Flutes - Flutes are widely used throughout Africa and either vertical or
side-blown. They are usually fashioned from a single tube closed at one end
and blown like a bottle.
Atenteben (Ghana) Fulani Flutes
Panpipes consist of cane pipes of different lengths

tied in a row or in a bundle held together by wax or
cord, and generally closed at the bottom. They are
blown across the top, each providing a different note.
2. Horns - Horns and trumpets, found almost everywhere in Africa, are

commonly made from elephant tusks and animal horns. With their varied
attractive shapes, these instruments are end-blown or side-blown and range
in size from the small signal whistle of the southern cattle herders to the
large ivory horns of the tribal chiefs of the interior. One trumpet variety, the
wooden trumpet, may be simple or artistically carved, sometimes
resembling a crocodile’s head.

36
Afro-Latin American
and Popular Music
Kudu horn - This is one type

of horn made from the horn of
the kudu antelope. It releases a
mellow and warm sound that
adds a unique African
accent to the music.
This instrument,
which comes in a set
of six horns, reflects
the cross of musical
traditions in Africa.
Today, the kudu horn
can also be seen in
football matches,
where fans blow it to
cheer for their
favourite teams.
3. Reed pipes - There are single-reed pipes made from

hollow guinea corn or sorghum stems, where the
reed is a flap partially cut from the stem near one
end. It is the vibration of this reed that causes the air
within the hollow instrument to vibrate, thus creating
the sound.
There are also cone-

shaped double-reed
instruments similar to
the oboe or shawm.
The most well-known
is the rhaita or
ghai ta, an oboe-like
double reed instrument
from northwest Africa.
It is one of the primary
instruments used by
traditional music
ensembles from
Morocco. The rhaita
was even featured in
the Lord of the Rings
soundtrack,
specifically in the
Mordor theme.
4. Whistles - Whistles found throughout

the continent may be made of wood or
37
other materials. Short pieces of horn
serve as whistles, often with a short
tube inserted into the mouthpiece. Clay
can be molded into whistles of many
shapes and forms and then baked.
Pottery whistles are sometimes shaped
in the form of a head, similar to the
Aztec whistles of Central America and
Mexico.
African
whistle
5. Trumpets - African trumpets are made of wood, metal,

animal horns,
elephant tusks, and gourds with skins from snakes,
zebras, leopards, crocodiles
and animal hide as ornaments
to the instrument.
They are mostly ceremonial in

nature, often used to announce
the arrival or departure of
important guests. In religion
and witchcraft, some tribes
believe in the magical powers
of trumpets to frighten away
evil spirits, cure diseases, and
protect warriors and hunters
from harm.
African Musical Instruments from the Environment
M any instruments of Africa are made from natural elements like
wood, metal, animal, skin and horns, as well as improvised ones like
tin cans and bottles. These are mainly used to provide rhythmic
sounds, which are the most defining element of African music.
Africans make musical instruments from the materials in the
environment, like forest areas from where they make large wooden
drums. Drums may also be made of clay, metal, tortoise shells, or
gourds. Xylophones are made of lumber or bamboo, while flutes can
be constructed wherever reeds or bamboo grow. Animal horns are
used as trumpets while animal hides, lizard skins, and snake skins
can function as decorations as well as provide the membranes for

38
drum heads. Laces made of hides and skins are used for the strings
of harps, fiddles, and lutes.
On the other hand, bamboo was used to form the tongues of thumb
pianos, the frames of stringed instruments, and stamping tubes.
Strips of bamboo are even clashed together rhythmically. Gourds,
seeds, stones, shells, palm leaves, and the hard-shelled fruit of the
calabash tree are made into rattles. Ancient Africans even made
musical instruments from human skulls decorated with human hair
while singers use their body movements to accompany their singing.
Modern Africans make use of recycled waste materials such as

strips of roofing metal, empty oil drums, and tin cans. These people,
bursting with rhythm, make music with everything and anything. At
present, new materials that are more easily accessible, such as soda
cans and bottles, are becoming increasingly important for the
construction of percussion instruments. Some rhythmic instruments
like scrapers, bells, and rattles also provide the pitch and timbre
when played in an ensemble to provide contrasts in tone quality and
character.
Activity 1
African Instrument
Fill in the needed information
Classification of Name of instruments Characteristic of the

instrument instruments
Activity 2
Based on the African instrument, create or re-create 1 instrument using any
available materials from your place. Make sure it produces a distinct sound.
Name your improvised instrument, share it to your classmates and don’t forget
to record its sound.
Afro-Latin American and

Popular Music
MUSIC OF LATIN AMERICA

T he music of Latin America is the product of three major influences – Indigenous,
Spanish-Portuguese, and African. Sometimes called Latin music, it
includes the countries that have had a colonial history from Spain and
Portugal, divided into the following areas:

39
a. Andean region (a mountain system of western South America
along the
Pacific coast from Venezuela to Tierra del Fuego) – Argentina,
Bolivia,
Chile, Ecuador, Peru, and Venezuela
b. Central America – Belize, Costa Rica, El Salvador,
Guatemala, Honduras, and Panama
c. Carribean – Cuba, Dominican Republic, Guadeloupe, Haiti,
Martinique, and Puerto Rico
d. Brazil
At the same time, because of the inter-racial cross breeding and migration,
the above-named countries were also somewhat commonly populated by
five major ancestral groups as follows:
a. Indian descendants of the original native Americans who were the
inhabitants of the region before the arrival of Christopher Columbus
b. African descendants from Western and Central Africa
c. European descendants mainly from Spain and Portugal but also
including the French, Dutch, Italian, and British
d. Asian descendants from China, Japan, India, and
Indonesia/Java e. Mixed descendants from the above-
named groups
INFLUENCES ON LATIN AMERICAN MUSIC
1. Indigenous Latin-American Music
Before the arrival of the Spanish, Portuguese, and other European

colonizers, the natives were found to be using local drum and
percussion instruments such as the guiro, maracas, and turtle shells,
and wind instruments such as zampona (pan pipes) and quena
(notched-end flutes) remain popular and
are traditionally made out of the same aquatic
canes, although PVC pipe is sometimes used
due to its resistance to heat, cold, and humidity.
Generally, quenas only are played during the
dry season. Materials came from hollow
tree trunks, animal skins, fruit shells, dry seeds, cane and
Quena
clay, hardwood trees, jaguar claws, animal
and human bones, and specially-treated
inflated eyes of tigers.

40
Zampona
Turtle shells
Maracas
Guiro
The indigenous music of Latin America was largely functional in

nature, being
used fo religious worship and ceremonies . The use of instruments as well as
singing and dancing served to implore the gods for good harvest, victory in
battles, guard against sickness and natural disasters, and of course to
provide recreation.
2. Native American/Indian Music
The ethnic and cultural groups of the principal native

Americans share many similar yet distinctive music elements
pertaining to melody, harmony, rhythm, form, and dynamics.
Short musical motives from descending melodic lines were a
common feature, where tempo, rhythm, and tone colors vary
with the specific occasion or ritual. Many dance forms were
repetitious, while songs had a wide range of volume levels.
Some of the Native American music includes courtship

songs, dancing songs, and popular American or Canadian
tunes like Amazing Grace, Dixie, Jambalaya, and Sugar
Time. Many songs celebrate themes like harvest, planting
season or other important times of year.
3. Afro-Latin American Music
The African influence on Latin American music is most

pronounced in its rich and varied rhythmic patterns produced
by the drums and various percussion instruments. Complex
layering of rhythmic patterns was a favorite device, where
Afro-Latin American
and Popular Music

41
fast paced tempos add to the rhythmic density. Vocal music was often
deep-chested while instrumental music greatly relied on resonant
drums and sympathetic buzzers to produce rich sounds and occasional
loud volume levels to reflect their intensity.
Euro-Latin American Music
The different regions of Latin America adopted various characteristics from

their European colonizers. Melodies of the Renaissance period were used
in Southern Chile and the Colombian Pacific coasts, while step-wise
melodies were preferred
in the heavily Hispanic and Moorish-influenced areas of Venezuela and
Colombia. Alternating dual meters, such as 68 and 44 , known as
“sesquialtera” found in
Chile and adopted in Cuba and Puerto Rico, were immortalized in the
song I
Wanna Be in America from Leonard Bernstein’s Broadway hit West Side
Story.
Other European influences were manifested in the texture of Euro-Latin
American music, from unaccompanied vocal solos to those
accompanied by stringed instruments.
5. Mixed American Music

The diversity of races and cultures from the Native Americans, Afro-Latin
Americans, and Euro-Latin Americans account for the rich combinations of musical
elements including the melodic patterns, harmonic combinations, rhythmic
complexities, wide range of colors and dynamics, and various structural formats.
This musical fusion of Latin America combining native instruments with

European counterparts and musical theories was further enriched by the instruments
brought by the African slaves. The result of the massive infusion of African culture
also brought about the introduction of other music and dance forms such as the Afro-
Cuban rumba, Jamaican reggae, Colombian cumbia, and the Brazilian samba.
Popular Latin American Music
Latin America has produced a number of musical genres and forms that
had been influenced by European folk music, African traditional music, and
native sources. Much of its popular music has in turn found its way to the many
venues and locales of America, Europe, and eventually the rest of the world. Its
danceable rhythms, passionate melodies, and exotic harmonies continue to
enthrall music and dance enthusiasts worldwide even as the forms themselves
undergo constant modifications that are more relevant to the times. Some of these
Latin American popular music forms are tango, bossa nova, samba, son, and
salsa.

42
a. Samba
The samba is a dance form of African origins

around 1838 which evolved into an African-
Brazilian invention in the working class and slum
districts of Rio de Janeiro. Its lively rhythm,
consisting of a 2 meter but containing three steps
4
each that create a feeling of a 3 meter instead,
4
was meant to be executed for singing, dancing, and
parading in the carnival. Samba has a number of
variations, so that there is no clear-cut definition of
a single samba form. Its most adventurous kind is
known as the batucada, referring at once to a
large percussion ensemble of up to a hundred players, a jam session, or
an intensely polyrhythmic style of drumming.
b. Son
The son is a fusion of the popular music or canciones (songs) of Spain and
theAfricanrumbarhythmsofBantuorigin.OriginatinginCuba,itisusually played with the tres
(guitar), contrabass, bongos, maracas, and claves (two wooden sticks that are hit
together).Although the son is seldom heard today, its most important legacy is its
influence on present-day Latin American music, particularly as the forerunner of the
salsa.
c. Salsa
The salsa is a social dance with marked influences from Cuba and Puerto
Rico that started in New York in the mid 1970’s. Its style contains elements
from the swing dance and hustle as well as the
complex Afro-Cuban and Afro-Carribean
dance forms of pachanga and guaguanco.
The execution of the salsa involves shifting

the weight by stepping sideways, causing
the hips to move while the upper body
remains level. The arms and shoulders are
also incorporated with the upper body
position. In each, a moderate tempo is used
while the upper and lower bodies act in
seeming disjoint as described above.
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.

43
MUSICAL INSTRUMENTS OF LATIN AMERICA
T he varied cultures developed in Latin America gave rise to different types of wind and]
percussion instruments. As with the African continent, their rich history dating back
thousands of years ago with the Aztec, Maya, and other prehistoric cultural groups in Latin
America understandably generates their own brands of creativity in making music.
In Central America, the ancient civilizations of the Aztec and Maya peoples used various
instruments mainly for religious functions and usually by professional musicians. As
some instruments were considered holy and it was further believed that music was
supposed to glorify the gods, mistakes in playing these instruments were considered
offensive and insulting to them. Some of their instruments include the following:
Tlapitzalli
The tlapitzalli is a flute variety from the Aztec culture made

of clay with decorations of abstract designs or images of
their deities.
Teponaztl
The teponaztl is a Mexicans lit drum hollowed
out and carved from a piece of hardwood. It is
then decorated with designs in relief or carved
to represent human figures or animals to be used
for both religious and recreational purposes.
Conch
The conch is a wind instrument made from a seashell usually

of a large sea snail. It is prepared by cutting a hole in its spine
near the apex, then blown into as if it were a trumpet.
Rasp
The rasp is a hand percussion instrument whose sound is

produced by scraping a group of notched sticks with
another stick, creating a series of rattling effects.

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Huehueti
The huehueti is a Mexican upright tubular drum used by

the Aztecs and other ancient civilizations. It is made of
wood opened at the bottom and standing on three legs cut
from the base, with its stretched skin beaten by the hand or
a wooden mallet.
Whistles
Whistles are instruments made of natural elements such

as bone from animals. The eagle-bone whistle is the
most common whose function is to help symbolize
the piece’s purpose.
IncanInstruments
Among the Incas of South America, two instrumental varieties were most common:
a. Ocarina
The ocarina was an ancient vessel flute made of clay or

ceramic with four to 12 finger holes and a mouthpiece
that projected from the body.
b. Panpipes (Zamponas)
The zamponas were ancient instruments tuned to

different scalar varieties, played by blowing across the
tubetop. Typical models were either in pairs or as
several bamboo tubes of different lengths tied together
to produce graduated pitches of sound.
58

45
Andean Instruments
The Andean highlands made use of several varieties of flutes and string instruments
that include the following:
a. Pitus
The pitus are side-blown cane flutes that are played all
year round.
b. Wooden Tarkas
The tarkas are vertical duct flutes with a mouthpiece

similar to that of a recorder, used during the rainy season.
c. Quenas
The quenas are vertical cane flutes with an end-notched made from fragile
bamboo. They are used during the dry season.
d. Charango
The charango is a ten-stringed Andean guitar from Bolivia. It is the size of a

ukulele and a smaller version of the mandolin, imitating the early guitar and lute
brought by the Spaniards. It produces bright sounds and is often used in serenades
in Southern Peru.
59

46
Mariachi
The Mariachi is an extremely popular band in Mexico whose original ensemble consisted
of violins, guitars, harp, and an enormous guitarron (acoustic bass guitar). Trumpets were
later added, replacing the harp. Mariachi music is extremely passionate and romantic with
their blended harmonies and characterized by catchy rhythms. Its musicians are distinctly
adorned with wide-brimmed hats and silver buttons.
Activity 1
Based on the Latin America instrument, create or re-create your own version of RASP,
WHISTLE and PANPIPES using any available materials from your place. Make sure it produces
a distinct sound. Name your improvised instrument, share it to your classmates and don’t forget to
record its sound.
VOCAL AND DANCE FORMS OF LATIN AMERICAN MUSIC
LatinmanyAmerican instruments are extremely useful in adding life, color, and variety to their
vocal and dance forms which have captured the world’s attention and
affectionate adoption. In the Philippines, many of these characteristics have been taken
in, particularly in the Brazilian bossa nova, cha cha, rumba, and the Argentine tango.
Other dance forms became locally popular especially in the 1960’s and 1970’s until the
arrival of disco and rock music. However, the original Latin dance forms have been
experiencing constant revivals of their popularity especially in “ballroom dancing” as the
trendier modern styles also fade almost as quickly as they come.
1. Cumbia
Originating in Panama and Colombia, the cumbia became a popular African

courtship dance with European and African instrumentation and characteristics.
It contained varying rhythmic meters among the major locations – 2 meter in
Colombia; 2 , 4 , and 6 meters in Panama, and 2 meter in Mexico. Instruments
4
4 4 8 2
used are the drums of African origin, such as the tabora (bass drum), claves,

47
which are hard, thick sticks that sets the beat, guitar, accordion, clarinet,
modern flute, and caja, a type of snare drum.
2. Tango
The word tango may have been of African origin meaning “African dance” or
from the Spanish word taner meaning “to play” (an instrument). It is a foremost
Argentinian and Uruguayan urban popular song and dance that is related to the Cuban
contradanza, habanera, and Cuban tango, and remains a 20th century nationalistic
Argentinian piece of music that is most expressive. Its main development was in the slum
areas of Buenos Aires, and eventually became fashionable in Parisian society in the early
part of the 20th century, England and other parts of Western Europe.
During the 1890’s, the working class of Buenos Aires, Argentina came across a
new kind of rhythm known as the tango, whose choreographic steps followed
the dance trend of the Viennese Waltz and the polka involving close contact
between the male and female dancers.
Tango later became more intellectual in the 1940’s when more poetic lyrics were
inserted and allowed little freedom. Later in the 1960’s, more improvisation and
movement were incorporated into the form, allowing the singers and dancers
more room for creative expressions.
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3. Cha Cha
The cha cha is a ballroom dance the originated in Cuba

in 1953, derived from the mambo and its characteristic
rhythm of 2 crochets – 3 quavers – quaver rest, with a
syncopation on the fourth beat. The cha cha may be
danced with Cuban music, Latin Pop, or Latin Rock.
The Cuban cha cha, considered more sensual that may
contain polyrhythmic patterns, has a normal count of
‘two-three-chachacha’ and ‘four and one, two, three’.
4. Rumba
The rumba popular recreational dance of Afro-Cuban origin, performed in a

complex duple meter pattern and tresillo, which is a dotted quaver – dotted quaver
– dotted semiquaver rhythm. It is normally used as a ballroom dance where a solo
dancer or couple would be in an embrace though slightly apart, with the rocking
of the hips to a fast-fast-slow sequence and
often containing cross rhythms. Are repetitive
melody with an
ostinato pattern played by the maracas,
claves, and other Cuban percussion
instruments. It contains jazz elements that
became a model for the cha cha, mambo,
and other Latin American dances. It was
also used for concert music, as it appeared
in the Second Piano Concerto of the
French composer Darius Milhaud.
5. Bossa nova
Bossa nova originated in 1958-59 as a movement effecting a radical change in

the classic Cuban samba. The word bossa comes from the Brazilian capital of
Rio de Janeiro, which means either “trend” or “something charming,”
integrating melody, harmony, and rhythm into a swaying feel, where the vocal
style is often nasal. The nylon-stringed classical guitar is the most important
instrument of this style. Bossa nova contains themes centering on love,
women, longing, nature, and youthfulness.
Bossa nova emerged in the 1950’s when a slower, gentler version of the
samba became popular with the upper and middle class sectors of society. It
was music for easy and relaxed listening, conducive to romantic dates and
quiet moments at the lounges.

49
A foremost figure of bossa nova is Antonio

Carlos Jobim, who became famous with his
song Desafinado (1957). He collaborated with
Vincius de Moraes in the play Orfeu da
Conceicao (1956), musical recording of Cancao
do Amor Demais (1958), and the song Garota
de Ipanema or Girl from Ipanema (1962) that
turned bossa nova’s popularity into a worldwide
phenomenon.
Antonio Carlos Jobim
In the Philippine pop music scene, Sitti Navarro is a

singer who has become known as the “Philippines’
Queen of Bossa Nova.” Some of her bossa nova songs
include Para sa Akin, Hey Look at the Sun, Lost in
Space, and Kung Di Rin Lang Ikaw.
Sitti Navarro
6. Reggae
Reggae is an urban popular music and dance style that originated in Jamaica in
the mid 1960’s. It contained English text coupled with Creole expressions that
were not so familiar to the non-Jamaican. It was a synthesis of Western
American (Afro-American) popular music and the traditional Afro-Jamaican
music, containing a western-style melodic-harmonic base with African sounds
and characteristics, American pop and rock music mannerisms, and a
preference for a loud volume in the bass.
The best-known proponent of

reggae music is Bob Marley, a
Jamaican singer-songwriter,
musician, and guitarist. He
achieved international fame and
acclaim for songs such as: One
Love, Three Little Birds; No
Woman, No Cry; Redemption
Song; and Stir It Up.
Bob Marley

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7. Foxtrot
The foxtrot is a 20th century social dance that originated

after 1910 in the USA. It was executed as a one step,
two step and syncopated rhythmic pattern. The tempo
varied from 30 to 40 bars per minute and had a simple
duple meter with regular 4-bar phrases. There was no
fixed step pattern, instead borrowing from other dance
forms and having a simple forward/backward sequence.
The foxtrot gave rise to other dances such as the black
bottom, Charleston, and shimmy.
8. Paso Doble
The paso doble (meaning “double step”) is a theatrical

Spanish dance used by the Spaniards in bullfights,
where the music was played as the matador enters
(paseo) and during passes just before the kill (faena).
The dance is arrogant and dignified with a duple meter, march-like
character, where the dancer takes strong steps forward with the
heels accompanied by artistic hand movements, foot stomping,
sharp and quick movements, with the head and chest held high.
WHAT TO KNOW
LATIN AMERICAN MUSIC
Vocal and Dance Form Characteristic of music Artist

51
JAZZ
T he arrival of the jazz genre did not come overnight. It was an offshoot of the music
of African slaves who migrated to America. As music is considered a therapeutic outlet
for human feelings, the Africans used music to recall their nostalgic past in their home
country as well as to voice out their sentiments on their desperate condition at that time.
Since then, these melancholy beginnings have evolved into various more upbeat jazz
forms which the world has adopted and incorporated into other contemporary styles.
RAGTIME
Ragtime is an American popular musical style mainly for piano, originating in the Afro-
American communities in St. Louis and New Orleans. Its style was said to be a modification
of the “marching mode” made popular by John Philip Sousa, where the effect is generated
by an internally syncopated melodic line pitted against a rhythmically straightforward bass
line. Its music is written unlike jazz which is mainly improvised, and contains regular meters
and clear phrases, with an alternation of low bass or bass octaves and chords.
Scott Joplin
Jelly Roll Morton
Foremost exponents of ragtime were Jelly Roll Morton who was an American ragtime
and early jazz pianist and composer of Frog I More Rag. Scott Joplin, who also
composed the popular Maple Leaf Rag, Solace, and The Entertainer. Joplin is also knows
as the
“King of Ragtime.” Ragtime also influenced a number of classical composers, among
them Erik Satie, Claude Debussy, and Igor Stravinsky, who injected ragtime rhythmic
elements in their compositions.
BIG BAND
The term ‘Big Band” refers to a large ensemble form originating in the United States in
the mid 1920’s closely associated with the Swing Era with jazz elements. Relying heavily
on percussion (drums), wind, rhythm section (guitar, piano, double bass, vibes), and

52
brass instruments (saxophones), with a lyrical string section (violins and other string
instruments) to accompany a lyrical melody. A standard big band 17-piece instrumentation
consists of the following musical instruments percussion, brass, and woodwind
instrruments: five saxophones (most often two altos, two tenors, and one baritone), four
trumpets, four trombones (often including one bass trombone), and a four-piece rhythm
section (composed of drums, acoustic bass or electric bass, piano and guitar). Some big
bands use additional instruments. Big band music originated in the United States and is
associated with jazz and the swing.
Among the great big bands were the Glenn Miller Orchestra (A String of Pearls, Moonlight
Serenade, In The Mood, American Patrol, and Smoke Gets in Your Eyes); the Count Basie
Orchestra (April in Paris); and the Benny Goodman Orchestra (Sing, Sing, Sing); while some
solo signers such as Cab Calloway (Minnie the Moocher) Doris Day (Stardust, I’m in the
Mood for Love); Roy Eldridge, and others also collaborated with big bands.
BEBOP
Bebop or bop is a musical style of modern jazz which is characterized by a fast

tempo, instrumental virtuosity, and improvisation that emerged during World War II.
The speed of the harmony, melody, and rhythm resulted in a heavy performance
where the instrumental sound became more tense
and free.
Its main exponents were trumpeter Dizzy Gillespie, alto sax

player Charlie Parker, drummers Max Roach and Roy Haynes,
pianists Bud Powell and Thelonius Monk; guitarist Charlie
Christian; tenor sax players Dexter Gordon and Sonny Rollins,
Dizzy Gillespie who was also a composer; and trombonist JJ Johnson.

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JAZZ ROCK
Jazz rock is the music of 1960’s and 1970’s bands that inserted jazz elements into
rock music. A synonym for “jazz fusion,” jazz rock is a mix of funk and R&B
(“rhythm and blues”) rhythms, where the music used amplification
and electronic effects, complex time signatures,
and extended instrumental compositions with
lengthy improvisations in the jazz style.
Popular singer/songwriters Joni Mitchell, Tim

Buckley, and Van Morrison were among those
who adopted the jazz rock style.
Joni Mitchell
Some popular groups that emerged using the above music styles were the following:
 Grateful Dead
 Cream
Blood, Sweat, and Tears
 Traffic
 Chicago
 Steely Dan
 Lighthouse
 Frank Zappa
 Soft Machine
 Hatfield and the North
WHAT TO KNOW
Jazz Form Characteristic of Jazz Artist/Band

54
POPULAR MUSIC
P opular music literally means “music of the populace,” similar to traditional folk
music of the past. As it developed in the 20th century, pop music (as it has come to be
called) generally consisted of music for entertainment of large numbers of people,
whether on radio or in live performances. From the standard songs and ballads of the
legendary Cole Porter, George Gershwin, and Frank Sinatra to the rock and roll craze of
Elvis Presley and the Beatles and the present day idols in the alternative music and disco
modes, popular music is now shared by the entire world.
BALLADS
The ballad originated as an expressive folksong in narrative verse with text dealing typically
about love. The word is derived both from the medieval French “chanson balladee” and
“ballade” which refers to a dancing song. Used by poets and composers since the 18th
century, it became a slow popular love song in the 19th century.
Today, the term ballad now refers to a love song in a slightly pop or rock style, with the
following characteristics:
1. Blues Ballads
This is a fusion of Anglo-American and Afro-American styles from the 19th century
that deals with the anti-heroes resisting authority. The form emphasizes the character
of the performer more than the narrative content, and is accompanied
by the banjo or guitar.
2. Pop Standard and Jazz Ballads

This is a blues style built from a single verse of 16 bars ending on the dominant or
half-cadence, followed by a refrain/chorus part of 16 or 32 bars in AABA form. The
B section acts as the bridge, and the piece normally ends with a brief coda.
Some enduring pop standard and jazz ballads include The Man I Love (George
Gershwin, above left), Always (Irving Berlin, above center), and In a
Sentimental Mood (Duke Ellington, above right).

55
3. Pop and Rock Ballads
A pop and rock ballad is an emotional love song with suggestions of

folk music, as in the Beatles’ composition “The Ballad of John and
Yoko” and Billy Joel’s “The Ballad of Billy.” This style is
sometimes applied to strophic story-songs, such as Don McLean’s
“American Pie.”
Don McLean
STANDARDS
In music, the term “standard” is used to denote the most popular and enduring songs
from a particular genre or style, such as those by Irving Berlin, Cole Porter, and
Rodgers and Hart. Its style is mostly in a slow or moderate tempo with a relaxed
mood. It also features highly singable melodies within the range and technical
capacity of the everyday listener.
Among the foremost proponents of this style was Frank
Sinatra,also known as“Ol Blue Eyes,”“Chairman of the Board,”
or “The Voice.” His genre was categorized as
traditional pop and jazz. He
was a successful singer,
actor, producer, director, and
conductor. His hit singles
include My Way and
Strangers in the Night.
Frank Sinatra (far left)

and
Nat King Cole (left)
Another well-loved standards singer was American balladeer Nat King Cole. Although an
accomplished pianist, he owes most of his popular musical fame to his soothing baritone
voice, which he used to perform in big band, vocal jazz, swing, traditional pop, and jump
blues genres. He was the first black American to host his own television show and maintained
worldwide popularity over 40 years past his death. He is widely considered
“one of the most important musical personalities in United States history.” His hit
songs include Unfogettable, Mona Lisa, and Too Young.
Matt Monroe was an English singer who became one of the most popular entertainers in
the international music scene during the 1960s. Throughout his 30-year career, he filled
cabarets, nightclubs, music halls, and stadia in Australia, Japan, the Philippines, and
Hong Kong to Africa, the Middle East, Europe, and the Americas. Among his hit singles

56
included Portrait of My Love, Softly as I Leave You, the James

bond theme From Russia with Love, Born Free, which became his
signature song, and Walk Away.
Other popular singers of standards were Perry Como, Bing Crosby,

Andy Williams, Sammy Davis Jr., Doris Day, Patti Page, Barbra
Streisand, and Paul Anka.
Matt Monroe
ROCK AND ROLL
Rock and roll was a hugely popular song form in the United States during the late 1940’s
to the 1950’s. It combined Afro-American forms such as the blues, jump blues, jazz, and
gospel music with the Western swing and country music. The lead instruments were
the piano and saxophone, but these were eventually replaced by modern instruments.
In its classic form, rock and roll employed one or two electric guitars(lead, rhythm),a string
bass or bass guitar, and a set of drums that provided the rhythmic pattern. This form came
during the age of technological change when electric guitars were supplemented by
amplifiers and microphones to raise the volume. It derived its name from the mot of
a sonhip on the ocean, “rock and roll.”
The greatest exponent of the rock and roll style was the legendary
Elvis Presley. His hit songs such as Heartbreak Hotel and Blue
Suede Shoes were complemented by his good looks and elaborate
movements that included hugging the microphone as he sang.
Elvis
Presley
The Beatles
Presley’s style was the precursor of the

British band known as The Beatles,
whose compositions further boosted rock and roll as the favorite genre of the times.
Examples of The Beatles’ songs in this genre are I Saw Her Standing There, Get
Back, While My Guitar Gently Weeps, Rock and Roll Music, and Ticket to Ride.

57
The Beatles’ John Lenon and Paul McCartney

as Composers/Songwriters
John Lennon (1940-1980) was an English musician,

singer, performer, songwriter and co-songwriter. He
was born and raised in Liverpool, England. He rose to
worldwide fame as a founder member of the rock band
The Beatles, which was considered as “the most
commercially successful band in the history of popular
music.”
Lennon formed as songwriting partnership with Paul McCartney, which is considered as

“one of the most celebrated songwriting partnerships of the 20th century.” Lennon’s hit
compositions for the Beatles include Strawberry Fields Forever, Help, In My Life,
Tomorrow Never Knows, Rain, Norwegian Road, I am the Walrus, Come Together, You’ve
Got to Hide Your Love Away, and Happiness is a Warm Gun.
When The Beatles disbanded in 1970, Lennon embarked on a solo career. Among his
solo top billboard hits include Imagine, Mind Games, Power to the People, Dream,
NobodyToldMe,WatchingtheWheels,Woman, WhateverGetsYouThroughtheNight,
and Instant Karma.
In 2002, according to a BBC poll on the 100 Greatest Britons, John was voted in eighth
place. In 2008, Rolling Stone Magazine ranked him the “fifth-greatest singer of all time.”
He was posthumously inducted into the Songwriters Hall of Fame in 1987; and into
the Rock and Roll Hall of Fame twice as a member of The Beatles in 1988 and as a
solo artist in 1994.
Sir James Paul McCartney (1942- ) is an English singer,

songwriter, multi-instrumentalist, co-writer, and composer.
Paul gained worldwide popularity and fame as a member of
The Beatles, which included John Lennon, George
Harrison, and Ringo Starr. Beatles was one of the most
influential groups in the history of pop music.
The songwriting partnership with Lennon for the Beatles is one of the most celebrated
of the 20th century. McCartney has been “recognized as one of the most successful
composers and performers of all time, with 60 gold discs and sales of over 100 million
albums and 100 million singles of his work with the Beatles and as a solo artist.” It has
been known that more than 2,200 artists have covered his Beatles song Yesterday,
which is more than any other copyrighted song in history.
McCartney was a two-time inductee into the Rock and Roll Hall of Fame as a member of
The Beatles in 1988, and as a solo artist in 1999. He is a 21-time Grammy Award winner

58
having won both individually and with The Beatles. He has written or co-written 32
songs that have reached number one on the Billboard Hot 100.
As of 2014, McCartney had sold more than “15.5 million RIAA-certified units” in the
United States. He was knighted in England for his services to music. His top hit
compositions for The Beatles include Hey Jude; Fool on the Hill; I’ll Follow the Sun; I
Will; I Saw Her Standing There; All My Loving; Paperback Writer; Michelle; Eleanor
Rigby; We Can Work It Out; And I Love Her; Here, There, and Everywhere; Penny
Lane; and others.
DISCO
The 1970s saw the rise of another form of pop music

known as “disco.” Disco music pertained to rock music
that was more danceable, thus leading to the establishment
of venues for public dancing also called discos. The term
originated from the French word “discotheque” which
means a library for phonograph records.
The disco style had a soaring and reverberating sound
rhythmically controlled by a steady beat (usually44 meter)
for ease of dancing, and accompanied by strings, horns,
electric guitars, and electric pianos or synthesizers.
Famous figures of the
The Bee Gees
disco genre include
ABBA, Donna Summer (“The Queen of Disco”), The
Bee Gees; Earth, Wind, and Fire; KC and the
Sunshine Band; The Village People; and Gloria
Gaynor, bringing us such hits as Dancing Queen,
Stayin’ Alive, Boogie Wonderland, and Hot Stuff.
ABBA
Donna Summer
Earth, Wind, and Fire

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POP MUSIC
Parallel with the disco era, other pop music superstars

continued to emerge. Among them were Neil Sedaka
(Laughter in the Rain), Diana Ross and the Supremes (Stop in
the Name of Love), Olivia Newton John (Hopelessly Devoted
to You), Stevie Wonder (You Are the Sunshine of
My Life), Elton John (Skyline Pigeon), The Carpenters
(We’ve Only Just Begun), and Barry Manilow (Mandy).
Pop superstars in more recent years include solor artists

Celine Dion (My Heart Will Go On), Madonna (Material
Girl), Whitney Houston (I Will Always Love You), Mariah Diana Ross and the
Supremes
Carey (Hero), Justin Timberlake (Justified), Britney Spears
(Oops, I Did It Again), Beyonce (Irreplaceable), Lady Gaga (Bad Romance), and Bruno
Mars (Just The Way You Are); as well as vocal groups such as Boyz II Men (Four Seasons of
Loneliness), The Backstreet Boys (I Want It That Way), N’Sync (This I Promise You),
Destiny’s Child (Survivor), among many others.
Michael Jackson,“The King of Pop”

Perhaps the most popular solo performer of all time is
Michael Joseph Jackson who was born on August 29, 1958
and died on June 25, 2009. He was an American recording
artist, entertainer, singer-songwriter, record producer,
musical arranger, dancer, choreographer, actor,
businessman, and philanthropist.
The seventh child of the Jackson family, he made his debut as

an entertainer in 1968 as a member of The Jackson 5. He then
began a solo career in 1971 while still a member of the group
and was referred to as the "King of Pop" in subsequent years.
Jackson's 1982 album Thriller remains the world's best-selling album of all time, and
four of his other solo studio albums are among the world's best-selling records: Off
the Wall (1979), Bad (1987), Dangerous (1991), and History (1995).
In the early 1980s, he became a dominant figure in American popular music and culture. He
was the first African American entertainer to amass a strong crossover following on MTV.
The popularity of his music videos airing on MTV, such as Beat It, Billie Jean, and
Thriller—widely credited with transforming the music video from a promotional tool into
an art form—helped bring the relatively new channel to fame. Videos such as Black or
White and Scream made Jackson an enduring staple on MTV in the 1990s.

60
With stage performances and music videos, Jackson popularized a number of physically
complicated dance techniques, such as the “robot” and the “moonwalk.” His distinctive
musical sound and vocal style influenced many hip hop, pop music, and contemporary
R&B artists across several generations world-wide. Jackson donated and raised millions
of dollars for beneficial causes through his “Heal the World Foundation,” charity singles,
and support of 39 charities.
One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice,
his other achievements include “Multiple Guinness World Records”—including one for
"Most Successful Entertainer of All Time"—13 Grammy Awards, 13 number one singles
in his solo career, and the sale of 750 million records worldwide. Jackson is one of the
world’s most famous artists because of his highly successful career which made him a
part of popular culture for nearly four decades.
At the time of his death, Jackson was preparing for “This Is It,” a series of 50 concerts
that would have been held at The O2 arena in London beginning July 13, 2009, and a world
tour to follow after the series of concerts. After Michael Jackson's death, Billboard's entire
top nine positions on Billboard's Top Pop Catalog Albums chart housed Jackson-
related titles on July 1, 2009.
Today’s Pop Music Idols

As the 21st century continues to unfold, more
and more pop groups emerge spanning an
entire range of musical styles and genres.
There are music groups like Black Eyed Peas,
K Pop (Korean), My Chemical Romance, Fall
Out Boys, The Red Jumpsuit Apparatus,
Souja Boy, Train, Maroon 5, and One
One Direction
Direction.
While solo performers include Adele,

Taylor Swift, Ed Sheeran, Rihanna, Chris
Brown, Ariana Grande, Justin Beiber,
Miley Cyrus, Katy Perry, Nikki Minaj,
Rihanna
Ed Sheeran Selena Gomez, and others.
HIP HOP AND RAP
Hip hop music is a stylized, highly rhythmic type of music that usually (but not always)
includes portions of rhytmically chanted words called “rap.” In rapping, the artist speaks

61
along with an instrumental or synthesized beat. Hip hop arose in

the 1970s within the Afro-American and Latino youth in the
Bronx area of New York City. But by the 1980s, it had spread to
many other countries. It has since evolved into a subculture that
encompasses music (rapping, DJing, scratching,
and beatboxing); a nearly acrobatic style of
dancing, called break dancing; a distinct manner
of dress; and graffiti-style artwork.
Eminem
Among the early hip hop artists were LL Cool J

and Run-D.M.C. While more recent popular Kanye
West
names in this genre have been Beastie Boys,
Eminem, and Kanye West.
ALTERNATIVE MUSIC
Alternative music was an underground independent form of music that arose in the 1980’s. It
became widely popular in the 1990’s as a way to defy “mainstream” rock music. Thus,
It was known for its unconventional practices such as distorted guitar sounds, oppressive lyrics,
and defiant attitudes. It was also characterized by high energy levels that bred new styles such
as new wave, punk rock, post -punk, indie rock, gothic rock, jangle pop, noise pop, C86,
Madchester, Industrial Rock, and Shoegazing. Examples of alternative music are You Belong
with Me, Shake It Off.
WHAT TO KNOW
1. Briefly describe the historical and cultural background of African, Latin

American, jazz, and popular music.
2. Analyze the musical characteristics of African, Latin American, jazz, and

popular music.
3. How did the following music reflect life in their respective cultures and the
conditions at that time?
a. African music – maracatu, blues, soul, spiritual, call and response
b. Latin American Music – cumbia, tango, cha cha, rumba, bossa nova,
reggae, foxtrot, paso doble
c. Jazz – ragtime, big band, bebop, jazz rock
d. Popular music – ballads, standards, rock and roll, disco, pop, hip hop
and rap, alternative music

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PHILIPPINE POPULAR MUSIC
T he one word that comes to mind when we think of contemporary Philippine music is
the type commonly termed as Original Pinoy Music or Original Philippine Music, or
OPM for short. It was originally used to refer only to Philippine pop songs, particularly
ballads, such as those popular after the collapse of its predecessor, the Manila Sound, in
the late 1970s up until the present.
In the 1960s to 1970s, Nora Aunor, Pilita Corrales, Eddie Peregrina, Victor Wood, Asin,
APO Hiking Society, and others were highly popular OPM singers. In the 1970s to
1980s, the major commercial Philippine pop music artists were Claire dela Fuente, Didith
Reyes, Rico Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey
Valera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Nonoy Zuñiga, and many others.
ORIGINAL PILIPINO MUSIC (OPM)

The1980sto1990sarealsoregardedasthegoldenera ofPhilippine ballads.
Among the classics that emerged were those created by:
 Ryan Cayabyab (Kay Ganda ng Ating Musika,
Kahit Ika’y Panaginip Lang)
 George Canseco (Kapantay ay Langit,
Kastilyong Buhangin, Tubig at Langis)
 Willie Cruz (Sana’y Wala Nang Wakas,
Bituing Walang Ningning)
 Jose Mari Chan (Beautiful Girl, Please Be
Careful With My Heart, Constant Change) Ryan Cayabyab
 Gary Valenciano (Sana Maulit Muli)
Most of these compositions made use of Western-type

melody and harmony, while expressing uniquely Filipino
emotions in movingly poetic lyrics. These came to be
known as OPM, and were popularized by solo artists like
Pilita Corales, Nora Aunor, Basil Valdez, Celeste
Legaspi, Hajji Alejandro, Leah Navarro, Sharon Cuneta,
Martin Nievera, Gary Valenciano, ZsaZsa Padilla,
George Canseco Regine Velasquez, and Ogie Alcasid.
At the start, OPM was centered in Manila, where Tagalog and English are the
dominant languages. However, other ethno-linguistic groups such as the Visayan,
Bikol, Kapampangan, and Ilocano also began to sing and record their songs in their
native dialects.

63
Gary Martin
Valenciano Nievera
Between the 1980s and 1990s, OPM was led by artists such as Martin Nievera, Gary
Valenciano, Lea Salonga, Regine Velasquez, Sharon Cuneta, Vina Morales, Raymond
Lauchengco, Francis Magalona, Pops Fernandez, José Mari Chan, Dingdong Avanzado,
Janno Gibbs, Ogie Alcasid, Joey Albert, Manilyn Reynes, among many others.
In the 1990s, the famous solo artists and bands included The Eraserheads, Smokey
Mountain, Donna Cruz, Jessa Zaragoza, Ariel Rivera, Southborder, Afterimage, Andrew
E., Jaya, Rivermaya, Parokya ni Edgar, among many others. Underground bands emerged
and along with them were their perceptions of idealism and self-expression.
More recently,OPM stars have included Yeng Constantino,Sarah Geronimo,Aisa Seguerra, and
international singers Arnel Pineda (of the international rock group, Journey), Charice
Pempengco, and others.
Sarah Geronimo Arnel Pineda Charice
PHILIPPINE POP MUSIC
Popimitation,
music in the Philippines started as an adaptation or translation, if not complete
of Western hits. It started with Bobby Gonzales’ Hahabol-habol (Hot
Pursuit), a local version of the rock and roll songs of the
1950s, and Rico Puno’s Luneta, a local adaptation of The
Way We Were. This immediately clicked with the youth and
eventually gained wide acceptance even among the “burgis”
(bourgeois or elite) crowd.
Rico J. Puno

64
The start of the “Manila Sound” in the mid-1970s gave rise to songs using a colloquial
language called Taglish, a combination of Tagalog and English. These Filipino lyrics
sung to pop melodies resulted in highly singable songs with contemporary appeal.
Hotdog (above) and

The Apo Hiking Society (right)
Among the proponents of the Manila Sound were the Hotdog, Cinderella, The Rainmakers, and the Apo
Hiking Society. After waning briefly in the1990’s, this sound regained popularity in recent years with
remakes of the 1970’s originals by contemporary rock bands.
PHILIPPINE JAZZ
P hilippine musicians have also been inspired by jazz music. Among them are jazz pianist
and recording artist Boy Katindig, who comes from the well-known clan of musicians that
includes jazz piano legend Romy Katindig and saxophonist Eddie Katindig.
The Katindig family pioneered Latin jazz in Manila.
Lito Molina and

the Jazz Friends
Eddie Katindig
Bobby
Enriquez
Other notable Filipino jazz musicians include Lito Molina, Angel Peña, Emil Mijares,
and internationally known jazz pianist Bobby Enriquez.

65
PHILIPPINE ALTERNATIVE FOLK MUSIC
The Philippines also saw the rise of alternative folk music

which was different from the traditional and popular form.
This new form combined ethnic instrumentation with
electronic accompaniment, while presenting themes or
issues of society and the environment. Some of the
Filipino composers who championed this style were Joey
Ayala, Grace Nono, and Edru Abraham of
Freddie Aguilar Kontragapi (“Kontemporaryong Gamelan Pilipino”).
Among other Filipino composers whose styles ranged from folk to semi-ethnic werewere
Freddie Aguilar, best known for his song Anak; Yoyoy Villame, composer of Magellan;
Florante, composer of Ako’y Isang Pinoy; and Gary Granada, composer of Ka Bayani.
PHILIPPINE ROCK
Theyear1973sawthebirthofPhilippineor
“Pinoy” rock music which successfully merged
the rock beat with Filipino lyrics. This new sound was
introduced by the legendary Juan de la Cruz Band
(with their song Ang Himig Natin) which had for its
members Joey “Pepe” Smith, Wally Gonzales, and
the originator of Jeproks, Mike Hanopol, who
later became a major symbol of Pinoy rock.
Juan de la Cruz Band
Other early exponents of Pinoy rock included the band Maria Cafra; Sampaguita, the
female rocker; and folk-rock singer Heber Bartolome and his Banyuhay band, whose
songs expressed strong messages of nationalism.
Continuing this legacy of Pinoy rock today are vocal groups

and bands that include River Maya, The Dawn, True Faith,
The Eraserheads, Wolfgang, Bamboo, Parokya ni Edgar,
Hale, Sandwich, SugarFree, Sponge Cola, and others.
Parokya
ni Edgar
Bamboo

66
PINOY RAP
InMagalona
the Philippines, rap was also made popular by such composers and performers as Francis
(Mga Kababayan Ko and Watawat) and Andrew E (Humanap Ka
ng Pangit).
Francis Magalona was born on October 4, 1964 and died on

March 6, 2009. He is also known as FrancisM, “Master
Rapper,” and “The Man From Manila.” He was a Filipino
rapper, songwriter, producer, actor, director, television host,
and photographer. He is often hailed as the “King of Pinoy
Rap” and is considered a legend in the Philippine music
community.
With the success of his earliest albums, Magalona was the Francis
Magalona first Filipino rapper to cross over to the mainstream. He is
also credited for having pioneered the merging of rap with Pinoy rock, becoming a
significant influence on artists in that genre as well. He was later awarded a posthumous
Presidential Medal of Merit “for his musical and artistic brilliance, his deep faith in the
Filipino,andhissenseofnationalpridethatcontinue toinspireus.”
Pop Music Collaborations
Philippine pop artists have also collaborated with classical artists and orchestras in a
number of their recordings and concerts. Some of the concerts of Martin Nievera,
Gary Valenciano, Regine Velazquez, Lea Salonga, and Sharon Cuneta have featured
the Philippine Philharmonic Orchestra, the ABS-CBN Orchestra, and the Manila
Philharmonic Orchestra in performances at the Cultural Center of the Philippines
(CCP) and the Philippine International Convention Center (PICC), both known
venues for classical music, as well as at the Araneta Coliseum and Folk Arts Theater
(FAT). Classical musicians have also performed in malls and other commercial
venues to popularize classical music, popular music, and OPM.
SUMMARY
From theater tunes to rock and roll, pop, standards, hip hop, rap, and contemporary ballads—
whether in the West, in the Philippines, or anywhere else in the world—these all provided a
rich and diverse musical background in the development of Philippine contemporary
music. The development of Philippine music was also influenced by the history of the
country—from its pre-Spanish roots, through the Spanish and American periods, up to
the present. It has since evolved to have its own rich and distinct identity.

67
WHAT TO KNOW
1. How did the different forms of popular music reflect life in the 20th century?
2. Differentiate the characteristics of Philippine pop, rock, and rap music.
3. What role did media like radio, television, and recordings play in the
development of these different musical genres?
4. Describe the “Manila Sound” in Philippine pop music.
5. Name some well-known OPM performers.
Activity: Make Music
1. Create a rhythmic/harmonic accompaniment for any song you know using

these improvised African or Latin American instrument.
2. Write a poem about your situation in life, try to put melodies in it, record your
progress so you will not forget the melodies you’re putting into your poem.
Once you’re done putting melodies on your poem record it again and be
amazed of your first pop music composition.
*Note:
You can also try making your poem rap or rock music just make sure to
record your work.
You can also ask a friend who knows how to sing to assist you with your
work.
Activity: Log your favorites
1. Recall the songs you learned during your childhood years and as you
grow older.
2. Write the title of each song, singer and the genre it belong.
Song Title Singer Genre

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Activity: Make a Poster about Waka Waka
Waka Waka (This Time for Africa)

FIFA World Cup 2010 Official Anthem
"Waka Waka (This Time for Africa)" or in Spanish, "Waka Waka (Esto es
África)" is a song by Colombian singer-songwriter Shakira. It feautures
South African band, Freshlyground, and pairs an African Colombian
rhythm with a Soca-inspired beat. Its lyrics encourage one to aim for
one’s goals, like a soldier on a battlefield. The song was used as the
official song of the 2010 FIFA World Cup held in South Africa.
You're a good soldier You know it's serious

Choosing your battles We're getting closer
Pick yourself up This isn’t over
And dust yourself off The pressure is on
And back in the saddle You feel it
You're on the frontline But you've got it all
Everyone's watching Believe it
Activity: I’m a Star
Select one of your favorite POP music and sing it.

69
Post-Assessment
1. He formed a song writing partnership with Paul Mc Cartney, which I considered as

one of the most celebrated songwriting partnership of the 20 th century.
a. John Lennon b. Matt Monroe c. Frank Sinatra d. DonMcLean
2. It denote the most popular and enduring songs from a particular genre.
a. Ballads b. Folk Music c. Rock n Roll d. Standards
3. Wat do you all to a melodies and songs of the common people that are handed
down from one generation to generation?
a. Ballads b. Folk Music c. Rock n Roll d. Standards
4. A large ensemble from originality in the United States in the mid-1920’s closely
associated with swing and jazz elements.
a. Big Band b. Ragtime c. BEBOP d. Jazz Rock
5. Its music is written unlike jazz which is normally improvised and contains regular
meters and clear phrases with an alternation of low bass or bars octaves and
chords.
a. Big Band b. Ragtime c. BEBOP d. Jazz Rock
Key to Correction
Pre-test Post-test
1. A 1. A
2. C 2. D
3. D 3. B
4. B 4. A
5. D 5. B
Prepared by:

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MUSIC  Quarter III
Quarter III: CONTEMPORARY

PHILIPPINE MUSIC
CONTENT STANDARDS

1. Characteristic features of contemporary music.
The learner...
1. Sings contemporary songs.
The learner...
1. Listens perceptively to excerpts of major contemporary works.

2. Describes characteristics of traditional and new music.
3. Gives a brief biography of selected contemporary Philippine
composers.
4. Sings selections of contemporary music with appropriate pitch,
rhythm, style, and expression.
5. Explores ways of creating sounds on a variety of sources.
6. Improvises simple vocal/instrumental accompaniments to
selected songs.
7. Creates a musical on the life of a selected contemporary
Philippine composer.
8. Evaluates music and music performances using knowledge of
musical elements and style.

71
Contemporary Philippine Music
PRE - ASSESSMENT
Directions: Match column A to column B.
1. Contemporary music a. compositions are mostly traditional

2. Nicanor Sta. Ana Abelardo western influence
3. Antonio Molina b. Father of Philippine Impressionist
4. Lucio Sn Pedro music
5. Ryan Cipriano P. Cayabyab c. wrote 50 masses in Latin and 20 in
English
d. adapted ideas and elements from 20th
century music in the west
e. incorporated Philippine folk elements in
his compositions with western form and
harmony
f. triumvirate of Filipino composers

72
CONTEMPORARY
PHILIPPINE MUSIC
A ccording to National Artist Ramon Santos, PhD, “contemporary music in the

Philippines refers to compositions that have adopted ideas and elements from 20th
century art music in the west, as well as the latest trends and musical styles in the
entertainment industry.”
The modern Filipino repertoire consists of musical pieces that have been written in
20th century idioms that have evolved out of such stylistic movements as
impressionism, expressionism, neo-classicism, as well as avant garde and new music.
New music are compositions which are improvisational works such as the early
compositions of Dr. Ramon Santos, Radyasyon and Quadrasyon; Josefino “Chino”
Toledo’s Samut-Sari, Pintigan and Terminal Lamentations, and Jonathan Baes’ Wala
and Banwa.
20th CENTURY
TRADITIONAL COMPOSERS
W ith Spain and then America having colonized the Philippines from the early 1500s
to the late 1800s, it was unavoidable that Western compositional techniques found their
way into the works of Filipino composers. Yet, even 20th century Filipino composers
have managed to retain some traditional elements in their assimilation of Western
techniques. In fact, they have become the strongest foundations of what we now
know as Philippine music.
Among the major Philippine contemporary composers are Francisco Buencamino Sr.,
Francisco Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col.
Antonino Buenaventura, Rodolfo Cornejo, Lucio San Pedro, Rosendo Santos
Jr., Alfredo Buenaventura, and Ryan Cayabyab.
Note: Choose 4 composers you would like to read and study.

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FRANCISCO B. BUENCAMINO SR.

(1883 – 1952)
Francisco Beltran Buencamino Sr. was born on November

5, 1883 in Bulacan. He was the son of a musically inclined
couple. His father was Fortunato Buencamino, a church
organist and band master. His mother was Luisa Beltran, a
noted singer. He studied music composition and harmony at
Liceo de Manila. Unfortunately, he was not able to finish.
He taught at the Ateneo de Manila, and at Centro Escolar de

Señoritas whose Conservatory of Music he founded. He also
created the Buencamino Music Academy in 1930 where
Nicanor Abelardo was one of his students. Expanding his
career, he ventured into musical directing and scoring, and composing film music for
Sampaguita Pictures, LVN, and Excelsior.
Buencamino’s compositions include Harana, Pandanggo ni Neneng, Collar de

Sampaguita, Dulces las Horas, Mayon (Fantasia de Concierto), My Soul’s Lament,
Larawan,Mazurka,Boholana,MiBandera,Princesa ngKumintang,MaligayangBati, Ang Bukang
Liwayway, Pandanggo ni Neneng, Ang Bagong Balitaw, Himig ng Nayon, Damdamin (Romance), and
Pizzicato Caprice.
Many of his piano works have become a staple part of the Philippine repertoire of today’s
young students, especially Mayon, Larawan, and Maligayang Bati. He also wrote several
zarzuelas and kundimans. He passed away on October 16, 1952 after which a
posthumous award honored him with the title “Outstanding Composer.”
LARAWAN
Francisco Buencamino Sr.

74
Francisco Santiago
(1889 – 1947)
Francisco Santiago is known as the “Father of the Kundiman”

and belongs to the “Triumvirate of Filipino Composers.” He
finished his music specialization at the American
Conservatory of Music in Chicago, where he obtained his
Doctorate Degree in 1924.
Santiago’s music was Romantic in style, incorporating Western

forms and techniques with folk materials. He composed several
works such as kundiman, symphonies, piano concertos, and
other music pieces for the piano, violin, and voice.
Among his famous works are Pakiusap, Madaling Araw, Sakali Man, Hibik ng Pilipinas,
Ano Kaya ang Kapalaran, and Kundiman (Anak Dalita). This piece was sung before the
Royal Court of Spain upon the request of King Alfonso II. He was also a musical director
for films. Among the films whose music he supervised are Kundiman, Leron Leron Sinta,
Madaling Araw, Manileña, and the movie inspired by his own composition Pakiusap. He
became the first Filipino Director of the UP Conservatory of Music.
PILIPINAS KONG MAHAL

Francisco Santiago

75
NICANOR ABELARDO
(1893 – 1934)
Nicanor Abelardo is one of the “Triumvirate of Filipino

Composers” which includes Antonio Molina and Francisco
Santiago. He studied music at the Chicago Music College and
was influenced by the musical styles of Schoenberg,
Hindemith and Stravinsky.
Abelardo developed a style that combined European romanticism

with chromaticism. His compositions contain hazy tones,
dissonance and unusual chordal combinations found in such works
as Cinderella Overture, Panoramas, and a violin sonata. Although
a 20th century modern composer in style, he is also
considered a composer in the Romantic style. His best-known compositions include
Mutya ng Pasig, Nasaan Ka Irog, Cavatina for Violoncello, and Magbalik Ka Hirang.
ANTONIO J. MOLINA (1894–1980)

National Artist for Music
Antonio Molina , the first National Artist for Music, is

considered one of the “Triumvirate of Filipino Composers”
which includes Nicanor Abelardo and Francisco Santiago.
He began his music career as an orchestral soloist at the
Manila Grand Opera House.
He served as Dean of the Centro Escolar University

Conservatory of Music from 1948 to 1970. He was also a
faculty member of the University of the Philippines’
Conservatory (now College) of Music.
Molina was a product of both the Romantic and Impressionist schools of thought. He
was fascinated by the dynamics and harmonies of Debussy, but retained much of the
Romantic style in his melody. A characteristically impressionist work is his piano
work Malikmata (Transfiguration). The mysteriously exotic chords of this piece
gradually lead to a lyrical melody, with the traditional harmonies abruptly returning
to the initial mood. Molina wrote several compositions for piano, violin, and voice as
well as a Spanish-style opera form known as the zarzuela.

76
He is best known for his poignantly romantic serenade for violin and piano Hatinggabi.
Subsequent transcriptions of this piece were written for the cello, flute, piano, and guitar.
Other works by Molina include orchestral music - Misa Antoniana Grand Festival Mass,
Ang Batingaw, Kundiman-Kundangan; chamber music - String Quartet, Kung sa Iyong
Gunita, Pandangguhan; and vocal music - Amihan, Awit ni Maria Clara, and Larawan
Nitong Pilipinas. He received the National Artist for Music award in 1973. He passed
away on January 29, 1980.
MUTYA NG PASIG
Music and Lyrics by Nicanor Abelardo

77
HATINGGABI (Excerpt)
Antonio J. Molina (Music) / Levi Celerio (Lyrics)
SA UGOY NG DUYAN (Excerpt)

Lucio San Pedro (Music) / Levi Celerio (Lyrics)
PANDANGGO SA ILAW (Excerpt)

Antonino Buenaventura (Music) / Levi Celerio (Lyrics)

78
HILARION RUBIO Y FRANCISCO

(1902 – 1985)
Hilarion Rubio was born on October 21, 1902 in Bacoor, Cavite. A composer, music
teacher, conductor, and clarinetist, he created substantial works for the orchestra. He
served as conductor for opera, ballet, dance recitals, and movie music.
His early interest in music came from the influence of his uncle who was then playing with
the Bacoor Band. His first music lessons in music theory and clarinet were with Fr.
Amando Buencamino who taught him solfeggio and some musical instruments. When he
was eight years old, he was accepted as a member of the Bacoor Band as a clarinetist. At
that time, he made his first composition Unang Katas for his concert with the band. In his
high school years at the North High School (now Arellano High School), Rubio became a
member of several orchestras. He performed with various movie house bands and
orchestras. He was also a member of the Lyric Theater Orchestra, Trozo Band in Benavides
Street, and the Band Moderna in Tondo. After he graduated from high school in 1930, he
co-founded the Anak Zapote Band. He later became a bandleader and conductor of the
ROTC Band of the Conservatory of Music, University of the Philippines (UP) and played
the violin and timpani with the UP Junior Symphony Orchestra.
After his student years , Rubio became a conductor of opera at the Manila Music School in 1936.
He became the choirmaster and choral conductor of the Choir Islanders. Also, he assumed the
position of instructor at the Conservatory of Music, University of the Philippines. He was also a
lecturer at the Buencamino Music Academy, La Concordia
College, College of the Holy Spirit, Santa Isabel College, Laperal Music Academy, Manila
Music School, St. Theresa’s College, and the Valencia Academy of Music. He became
full professor of the UP Conservatory of Music from 1936-1937. He was appointed
director of the Conservatory of Music, Centro Escolar University in 1944-1945.
During the Second World War, Rubio composed and arranged many works and conducted
many military and civilian brass bands. After the war, he was appointed conductor of the
Manila Municipal Symphony Orchestra. He held various positions, including as Vice
President of the PASAMBAP (Pambansang Samahan ng mga Banda sa Pilipinas), the
National Band Association, board and charter member of the League of Filipino composers,
and the first President of the Philippine Bandmaster’s Association. He was conductor of
the National Opera Company for 23 years from 1937 to 1960.
Rubio’s compositions include: Bulaklaken, Theme and Variations for Band, Dance of
the Nymphs Rondo, Florente at Laura (overture), Halik, Danza, Unang Katas, Two-
part Invention (piano), Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway,
Concertino in C (marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako,
Ginintuang Araw, In a Tropical Sea, Light, Narra, Mutya ng Silangan, To the
Filipino Youth, Nela, National Heroes Day Hymn, and Salamisim. He passed away on
December 28, 1985.

79
COL. ANTONINO BUENAVENTURA

(1904 – 1996)
Col. Antonino Ramirez Buenaventura was a renowned

composer, conductor, and teacher. His father Lucio was the
chief musician of the Spanish artillery band in Intramuros
and founder of Banda Buenaventura. As a young boy, he
had already demonstrated a passion for music while
learning the rudiments of music and solfeggio and
becoming a proficient clarinet player.
Col. Buenaventura further developed his musical abilities at

the Conservatory of Music, University of the Philippines (UP)
at the age of 19. He received a Teacher’s Diploma in Science
and Composition at UP. Nicanor Abelardo and Francisco
Santiago were among his famous mentors. At the University, Buenaventura led the UP
ROTC Band and established the UP Junior Orchestra which was the first collegiate
orchestra in the country. He pursued further studies at the Institute of International Education in
New York. He was also awarded a study grantbytheUNESCOin1949.
He was a delegate to the general assembly of the International Society for Music Education
held in Montreux, Switzerland in 1976. He represented the country at the general meetings of
the International Music Council (IMC) in Rome (1962) and Hamburg (1964).
Buenaventura was actively involved with the various military bands which ultimately
earned him his military rank of Colonel. He was a music instructor and band conductor of
the Philippine Military Academy (PMA). Later, he restored the Philippine Constabulary
Band in 1945, which was reputedly likened to a symphony orchestra. It was considered as
“one of the best military bands in the world.” It would later be renamed the Philippine
Army Band. He also founded the San Pablo Music Academy in Laguna.
Buenaventura was a faculty member of the UP Conservatory of Music. Later, he became

the music director of the Conservatory of Music, University of Santo Tomas (UST) in
1961. After retiring from the military, he became the music director at the School of
Music and Arts, University of the East (UE) in 1964. He promoted Philippine music
through his extensive use of folk materials which he had recorded around the country
with Ramon Tolentino and National Artist for Dance Francisca Reyes Aquino.
Buenaventura composed the music and folk dance notations for the dance researches of
Aquino. As a multi-awarded musician, he composed Minuet, Mindanao Sketches,
Divertimento for Piano and Orchestra, Variations and Fugue, and Greetings based
on Philippine folk music. Pandanggo sa Ilaw, one of his most popular compositions,
remains a favorite performance repertoire of many folk dance companies. He was
declared National Artist for Music in 1988 and passed away in 1996.

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RODOLFO S. CORNEJO
(1909 – 1991)
R o d o l was born on May 15, 1909 in Singalong,

f o S . C o r n e j o
Manila. Inspired by his mother’s genuine support, the young

Cornejo started formal music lessons at the age of six. He
performed on stage after only two years of music studies. During
this time, he was also invited as organist of the Pasay Catholic
Church. His first composition at age 10 was a piano piece
entitled Glissando Waltz. It was followed three years later by a
military march entitled Salute. At the age of 14, 26 of Cornejo’s
compositions were already listed by the United Publishing
Company Inc.
Cornejo graduated with a Teacher’s Diploma in Pianoforte and a Teacher’s Diploma in

Science and Composition at the Conservatory of Music, University of the Philippines (UP) in
1930. He received his Bachelor of Music degree major in piano and theory from the Chicago
Musical College of Roosevelt University, USA in 1932. He received a Master of Music
degree major in composition and conducting at the Chicago Musical College of
Roosevelt University, USA in 1933. He was conferred a Doctor of Music degree honoris causa
in 1954. He received his Doctor of Philosophy degree major in composition from the Neotarian
College of Philosophy in Kansas City, USA in 1947.
Cornejo taught at the UP Conservatory of Music and became the researcher and official
composer of the Philippine government-in-exile. He was appointed by then President
Manuel L. Quezon. He was commissioned to write a symphony and an opera and compose
the music for the documentary film on President Quezon’s funeral. He served as pianist-
director of a USO concert unit that entertained the Allied Forces at the E.T.O., the
Marianas, and the Hawaiian Islands during World War II.
Cornejo was the soloist of the Manila Symphony Orchestra, Filipinas Youth Symphony
Orchestra, and UP Symphony Orchestra. Later on, he became the musical director of the
Sampaguita and Vera-Perez Movie Companies. Since 1978, he held concerts in the United
States. He appeared as composer-conductor at the Seattle Opera House and the Seattle
Playhouse. He is listed in “The International Who’s Who in Music.”
Cornejo was also known for his extemporaneous thematic improvisations based on the
letters of people’s names. His compositional output includes A la Juventud Filipina,
Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakas at
Maganda, Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos.
1,2,3, Ruby, and Song of the Miners. He passed away on August 11, 1991.

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FELIPE PADILLA DE LEON SR.

(1912 – 1992)
Felipe Padilla de Leon was born on May 1, 1912 in Barrio Papaya

(now General Tinio) in Penaranda, Nueva Ecija. He is the son of
Juan de Leon and Natalia Padilla. Felipe de Leon married pianist
Iluminada Mendoza with whom he had six children. Bayani and
Felipe Jr., are two of his children. Bayani is a well-known
composer, and Felipe Jr. is a writer and the chairman of the
National Commission for Culture and the Arts (NCCA).
De Leon’s talent in painting and drawing was discovered during

his school days and admired by his uncle, peers. People asked him
to make illustrations and sketches and was paid for them. When he
was studying at the Nueva Ecija High School, he went on trips with his hometown band and wrote
short pieces for them. He took up Fine Arts at the University of the Philippines in 1927, but he had
to stop schooling in order to make a living. He played the trombone in dance orchestras which
performed in cabarets, circuses and bodabil (vaudeville). Then, he worked as an assistant conductor
of the Nueva Ecija High School Orchestra where he started doing musical arrangements. Later on,
he wrote music for the zarzuela.
He decided to study formally and enrolled at the Conservatory of Music, University of

the Philippines, where he studied under National Artists Col. Antonio Buenaventura and
Antonio Molina. He contributed articles to the school paper and vernacular magazines.
Later, he wrote music columns for the Manila Times (then known as Manila Tribune) and
Taliba. He graduated with a music teacher's diploma, major in conducting in 1939. Much
later, he took advanced studies in composition under Vittorio Giannini of the Julliard
School of Music in New York, USA. De Leon received many awards, such as Composer
of the Year (1949), Manila Music Lovers Society, Musician of the Year (1958), UP
Conservatory of Music, and others. He was conferred an honorary degree, doctor of
philosophy in the humanities, by the University of the Philippines in 1991.
De Leon wrote piano compositions, hymns, marches, art songs, chamber music,
symphonic poems, overtures, band muic, school songs, orchestral works, operas,
kundiman, and zarzuelas. He was known as a nationalist composer who expressed the
Philippines' cultural identity through his compositions. Two operas which are considered
his masterpieces are the Noli Me Tangere (1957) and El Filibusterismo (1970). These two
operas have been staged in the Philippines and abroad. He also wrote a march during the
Japanese regime entitled Tindig, Aking Inang Bayan, and another march Bagong Lipunan
during the martial law. He wrote the popular Christmas carols Payapang Daigdig (1946),
Noche Buena, and Pasko Na Naman, both in 1965. Felipe de Leon received a
posthumous award as National Artist for Music in 1997. He died on December 5, 1992.

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LUCIO SAN PEDRO

(1913 – 2002)
Lucio San Pedro was born on February 11, 1913 in Angono,

Rizal. Since his elementary days, he started composing. He
studied the banjo which inspired him to become a serious
musician. He later pursued his music degree at the University
of the Philippines and the Juilliard School in New York, USA.
Upon returning to the Philippines, he became a professor of
theory and composition at the University of the Philippines’
College of Music.
San Pedro is known as a “romantic nationalist.” He incorporated Philippine folk

elements in his compositions with Western forms and harmony. His chords have a
rich expressive tonality, as represented
in his well-loved Sa Ugoy ng Duyan, a lullaby melody sung by his mother.
His orchestral compositions are best represented by the Suite Pastorale (1956), a poetic aural
description of his home town Angono, and his nationalistic symphonic poem Lahing
Kayumanggi(1962). Other compositions include songs, pieces for violin, cello, and chorus.
His works for the symphonic band was where he was most prolific and productive
both as composer and conductor.
His musical prowess was internationally recognized when he was invited to be a

judge at the prestigious Van Cliburn International Piano Competition in 1980. He was
declared National Artist for Music in 1991 and passed away on March 31, 2002.
ROSENDO E. SANTOS JR.

(1922 – 1994)
. was born on September 3, 1922 in Cavite City. At

R o s e n d o E . S a n t o s J r
age 11, he started composing band marches, instrumental,

and vocal scores, as well as music for Catholic masses.
He studied in Cavite schools and later graduated from the UP

Conservatory of Music where he eventually became a faculty
member. He also pursued a Master of Music degree in theory
and composition from the Catholic University of America in
Washington, D.C. After which, he also served on its faculty as
well as in West Virginia University and Howard University.

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As a UNESCO scholar, Santos was awarded the “Philippine Composer of the Century”
after receiving the “Composer of the Year Award” in Manila in 1956 and 1957. He joined
the faculty at Wilkes University, Pennsylvania in 1968. He performed as timpanist, pianist,
and conductor with several orchestral groups. He conducted church choirs in Maryland, New
Jersey, Lehman, Huntsville, and Shavertown United Methodist Churches in Pennsylvania,
USA. He composed the background music for J. Arthur Rank Films at Pinewood Studios in
London, England, where he worked with British composers Malcolm
Arnold and Muir Mathieson. Among Santos’ teachers were famous composers Aaron
Copland, Irving Fine, Humphrey Searle, and conductor Norman Del Mar.
A prolific composer, he had composed several piano concerti, sonatas, symphonies,

symphonic poems, five operas in Filipino, numerous band overtures, and more than 200
marches. He had also written 50 masses in Latin and 20 in English. He has more than
1,000 musical compositions in the library of the University of the Philippines. Santos’
last musical work and only ballet composition, Melinda’s Masquerade, was performed
in 1995, a year after his death. Santos passed away on November 4, 1994 in
Swoyersville, Pennsylvania, USA.
ALFREDOBUENAVENTURA
(1929 – )
Dr. Alfredo Santos Buenaventura, composer, conductor and

teacher, was born in Sta. Maria, Bulacan on October 14, 1929.
grew up in a musical environment and became a band member
in his hometown at a young age. He was drawn by his
fascination with trumpets and trombones and became one of its
arrangers and conductors. He was one of twenty boy sopranos
of Tiples at Sto. Domingo Church from where he received his
first significant musical training. At that time, he
also wrote his first composition, Danza.
A prolific composer, Buenaventura has composed over 50 major works including five
full-length operas, operettas, dance dramas, cantatas, symphonies, concertos, ballets,
overtures, prelude, fugues, and chamber music. His compositions and other creative
works have transcended territorial, racial, and language barriers as these have been
performed abroad by international virtuosi and religious groups. Many of his
compositions are based on Filipino heroes, legends, and epics. He uses native songs,
both tribal and folk, as themes of his music compositions. A number of his
compositions are accompanied by Filipino indigenous instruments.
Some of his major works include the operas Maria Makiling (1961), Diego Silang
(1966), Prinsesa Urduha (1969), cantatas Ang Ating Watawat (1965), Pasko ng Barangay
(1964), three piano concertos subtitled Celebration, Determination, and Exultation, and
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symphonies such as Dakilang Lahi (1971), Gomburza (1981), and Rizal, the Great
Malayan Antagonist (1990). His minor works numbering more than 50 cover mostly
religious songs and hymns for specific celebrations such as the Sixteenth Centenary
of St. Augustine, Mass for the 400th Year of the Augustinian Recollect, and the
Philippine Music Festival. His other creative musical works have been commissioned
by the Cultural Center of the Philippines, Metropolitan Theater, and the National
Music Competitions for Young Artists (NAMCYA).
Buenaventura’s compositional style rests mainly on his own set of musical ideas,
wherein he creates a combination of contemporary and conventional materials. He
keeps his melodies simple and understandable but with contemporary harmonies that
enhance their complexity. He became an official organist of the Manila Cathedral in
1960. He became the Dean of the College of Music, Centro Escolar University. He is a
member of the League of Filipino Composers. He received a number of awards in the
music industry. He was twice an awardee of the Republic Cultural Heritage Award and
the The Outstanding Filipino Award (TOFIL) for Music in 1995.
CIPRIANO“RYAN”CAYABYAB
(1954 – )
Ryan Cayabyab is a popular contemporary composer who

also has classical compositions to his credit, such as Misa,
Four Poems for Soprano and Piano, and Te Deum. His
compositional style makes much use of syncopation,
extended chords, and chromatic harmony.
Among his numerous compositions are the award-winning

Kay Ganda ng Ating Musika (1978), as well as the modern
zarzuela Alikabok (2003), the opera Spoliarium with libretto
by Fides Cuyugan-Asensio, and a variety of choral pieces and
song cycles. He also produced a number of recordings,
including the memorable album One, where he personally sang the unaccompanied
songs on different tracks to produce 16 voices.
Cayabyab was born on May 4, 1954 in Manila. He obtained his Bachelor of Music
degree at the University of the Philippines’ College of Music. After which, he became
a faculty member for Composition at the same University. He also served as the
Executive and Artistic Director of the San Miguel Foundation for the Performing
Arts, which oversaw the operations and programming of the San Miguel
Philharmonic Orchestra and the San Miguel Master Chorale. At present, he continues
to be a much sought-after professor, musical director, composer, arranger, and
conductor in the Philippine concert and recording scenes.

85
SUMMARY
With the European and American influences brought by our colonizers, it was
inevitable that the musical styles of 20th century Western composers found their way
into Philippine compositions.
Francisco Buencamino founded the Centro Escolar de Señoritas, Conservatory of Music. He

also created the Buencamino Music Academy in 1930. Nicanor Abelardo was one of his
students. Expanding his career, Buencamino also ventured into musical direction and
scoring, composing music for Sampaguita Pictures, LVN, and Excelsior. He also
wrote several zarzuelas and kundiman. Francisco Santiago is known as the “Father
of the Kundiman” and belongs to the “Triumvirate of Filipino Composers.”
Nicanor Abelardo developed a style that combined European romanticism with

chromaticism. He belongs to the “Triumvirate of Filipino Composers” together with
Francisco Santiago and Antonio Molina. The Tanghalang Nicanor Abelardo (Main
Theater) of the Cultural Center of the Philippines and the Abelardo Hall of the College of
Music, University of the Philippines are named after him. Antonio Molina came to be
known as the “Father of Philippine Impressionist Music,” while composer Lucio San
Pedrointegratedindigenousmusicalforms,conventions,andinstrumentsinhisworksin the modern
nationalistic style.
Hilarion Rubio was a Filipino composer, music teacher, conductor, and clarinetist.
His name was closely identified with his works for the orchestra, conductor for opera,
ballet, dance recitals, and music for movies. Col. Antonino Buenaventura promoted
Philippine music by extensively using folk materials in his works. He recorded folk
and dance music around the country with Ramon Tolentino and National Artist for
Dance Francisca Reyes Aquino. Buenaventura composed the music and did the
notations for the folk dances as researched by Aquino.
Rodolfo S. Cornejo was considered “the first Filipino composer who received an honory
degree from a government recognized music school in the United States.” He was known
for his “pianistic and compositional talent” by extemporizing a piano composition at the
spur of the moment. Felipe P. de Leon wrote piano compositions, hymns, marches,
art songs, chamber music, symphonic poems, overtures, band muic, school songs,
orchestral works, operas, kundimans and zarsuelas. He was known as a nationalist
composer who expressed the Philippines' cultural identity through his compositions.
Lucio San Pedro is known as a “romantic nationalist.” He incorporated Philippine folk

elements in his compositions with Western forms and harmony. His chords have a rich
expressive tonality, as represented in his well-loved Sa Ugoy ng Duyan, a lullaby melody
sung by his mother. Rosendo Santos Jr. is listed in the “New Groves Dictionary of
Music and Musicians.” A prolific composer, his works include concerti, sonatas,
symphonies, symphonic poems, five operas in Philippine dialect, numerous band overtures,

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and more than 200 marches. He wrote 50 masses in Latin and 20 in English. He has more
than 1,000 musical compositions in the library of the University of the Philippines.
Alfredo Buenaventura is among the few composers in the Philippines who composed five
full-length operas. He has his own set of ideas about music and composition. He created a
combination of contemporary and conventional, kept his melodies simple and
understandable, but he used contemporary harmonies to suit the intellectuals. Contemporary
composer and conductor Ryan Cayabyab spans both popular and classical worlds with his
pop, ballads, operas, zarzuela, orchestral, and choral compositions.
WHAT TO KNOW
1. Choose 2 Composers from the list below and discuss their lives and musical
contributions to the Philippine Contemporary Music.
a. Francisco Buencamino Sr. g. Rodolfo Cornejo

b. Francisco Santiago h. Felipe Padilla de Leon Sr.
c. Nicanor Abelardo i. Lucio San Pedro
d. Antonio Molina j. Rosendo Santos Jr.
e. Hilarion Rubio k. Alfredo Buenaventura
f. Col. Antonino Buenaventura l. Ryan Cayabyab
2. Point out the characteristics of the musical style of the above-mentioned Filipino
composers.
Composer Characteristics of the Musical Style
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________

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WHAT TO PROCESS
A. Listening Activity
1. Your teacher will play excerpts of recordings of any (one composition)

of the following works by Filipino song composers:
a. Antonio Molina - Hatinggabi, Misa Antoniana, Grand Festival

Mass, Ang Batingaw, Kundiman- Kundangan;
String Quartet, Kung sa Iyong Gunita,
Pandangguhan, Amihan, Awit ni Maria Clara,
Larawan Nitong Pilipina
b. Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, Lahing
Kayumanggi
c. Ryan Cayabyab - Misa, Four Poems for Soprano and Piano, Te
Deum, Kay Ganda ng Ating Musika, Limang
Dipang Tao, Da Coconut Nut, Alikabok,
Spoliarium, Kumukuti-kutitap
d. Col. Antonino
DEPED COPY
Buenaventura - Minuet, Mindanao Sketches, Divertimento for
Piano and Orchestra, Variations and Fugue,
and Greetings, Pandanggo sa Ilaw, Princesa
ng Kumintang, Pandanggo ni Neneng
e. Alfredo
Buenaventura - Maria Makiling (1961), Diego Silang(1966),
Prinsesa Urduha (1969); Ang Ating Watawat
(1965), Pasko ng Barangay (1964); Dakilang
Lahi (1971), Gomburza (1981), and Rizal, the
Great Malayan Antagonist (1990.
f. Rodolfo Cornejo - A la Juventud Filipina, Bailes de Ayer, Caprice
on a Folksong, Cello Sonata, Cello Sonata,
Ibong Adarna, Kandingan, Malakas at
Maganda Overture, Okaka, Oriental Fantasy,
Ibong Adarna, Piano Concerto Nos. 1,2,3,
Ruby, Song of the Miners,
g. Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo,
Florente at Laura, Halik, Danza, Ang
Konsyerto (ballet), Ang Magsasaka, Bukang
Liwayway, Concertino in C (Marimba and
piano), Filipinas Kong Mahal, Hatulan Mo
Ako, Ginintuang Araw, In a Tropcal Sea,
Filipino Youth, Nela, Light, Narra, Mutya
ng Silangan

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h. Rosendo Santos Jr. Melinda’s Masquerade

i. Nicanor Abelardo - Nasaan Ka Irog?, Bituing
Marikit, Mutya ng
Pasig, Paskong Anong
Saya, Cavatina,
Kundiman ng Luha,
Magbalik Ka Hirang
j. Francisco Santiago- Kundiman (Anak Dalita),
Himutok, Pakiusap,
Madaling Araw, Sakali
Man, Pilipinas Kong
Mahal, Ano Kaya ang
Kapalaran?
k. Felipe de Leon Sr. - Bulaklak Alitaptap,
Bagong Lipunan,
Payapang Daigdig,
Pasko na Naman, Noche
Buena, Kay Tamis ng
Buhay, Sapagkat Mahal
Kita
l. Francisco Buencamino - Harana, Pandanggo ni
Neneng, Collar de
Sampaguita, Dulces las
Horas, Mayon
(Fantasia de Concierto),
My Soul’s Lament,
Larawan, Mazurka,
Boholana, Mi Bandera,
Princesa ng Kumintang,
Maligayang Bati, Ang Bukang
Liwayway, Pandanggo ni Neneng,
Ang
BagongBalitaw,HimigngNayon,
Damdamin (Romance), and
Pizzicato Caprice.
2. Listen carefully to each excerpt and recognize the
different musical styles of the composers.
3. Analyze the music. Take note of the elements of
music present: rhythm, melody, tempo, dynamics,
texture, harmony, form, and timbre.
4. Choose a composition that you like. Write a short
reaction paper on it in relation to its musical
elements.

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WHAT TO UNDERSTAND: SOLO, DUET, TRIO, QUARTET,
QUINTET
1. Compose a simple song. Write the lyrics and the music.

2. You may adapt a certain melody from the
compositions of the traditional composers that you
like. Write the new lyrics to fit the music.
3. You may include an accompaniment such as guitar,
flute, recorder, keyboard, drums, tambourine,
maracas or improvise musical instruments from the
environment.
4. You may sing it a capella (without accompaniment) or
with accompaniment. Perform your composition or your
song adaptation in class.
5. What motivated you to compose or adapt the music of

that song?
WHAT TO PERFORM
A. Singing Activity
Individual or in groups: Sing any of the compositions of

Lucio San Pedro, Col. Antonino Buenaventura, Alfredo
Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco
Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr.,
Nicanor Abelardo, Francisco Santiago, Felipe Padilla de
Leon, and Ryan Cayabyab.

90
NEW MUSIC COMPOSERS

C omposers of experimental New Music in the Philippines include Jose Maceda,
Lucrecia Kasilag, Ramon Santos, Manuel Maramba, Jerry Dadap, Francisco
Feliciano, Josefino “Chino” Toledo, and Jonas Baes. They retained the Filipino spirit
by incorporating traditional music forms as well as indigenous rhythms and
instruments in their compositions.
JOSE MACEDA
(1917 – 2004)
Jose Maceda was born in Manila on January 17, 1917. He started

his music studies at the Academy of Music in Manila. Later, he
went to Paris to study with Alfred Cortot. He eventually pursued
advanced studies in the USA with E. Robert
SchmitzandearnedaDoctorate DegreeinEthnomusicology from UCLA.
Maceda’s musical style changed when he encountered the music
of the indigenous tribes of Mindoro in 1953. He then embarked
on his life’s work, dedicated to the understanding and
preservation of Filipino traditional music. His extensive research
and fieldwork resulted in an immense collection of recorded
music taken from the remote mountain villages and far-flung inland communities in the
Philippines. Although his compositional approach tended to be Western in style, Maceda
combined sounds of the environment with ethnic instruments. His compositions were usually
for large groups of musicians. Among his works are Ugma-Ugma (1963), a work for voice
and ethnic instruments; Agungan (1975), a piece for six gong families; Pagsamba (1968), a
musical ritual for a circular auditorium using several ethnic percussion instruments; Cassettes
100 (1971), a composition for 100 cassette tape recorders; and Ugnayan (1974), an ethnic
piece played at the same time over several radio stations.
Considered as the first Filipino avant garde composer, he also worked at a recording
studio in Paris in 1958 which specialized in musique concrète. During this period, he met
Pierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, considered the musical giants
of this musical genre.Maceda served as Professor of Piano and Musicology at the College
of Music, University of the Philippines from 1952 to 1990. He was appointed Executive
Director of its Center for Ethnomusicology in 1997. In the same year, he was conferred
the honor of National Artist for Music. He passed away in Manila on May 5, 2004.

91
Contemporary
Philippine Music
LUCRECIA R. KASILAG
(1918 – 2008)
Lucrecia R. Kasilag was born in San

Fernando, La Union on August 31, 1918. She
went to Manila to pursue a degree in Music at
the Philippine Women’s University. She then
obtained her Master’s degree from the
Eastman School of Music in New York, USA.
Her compositions were influenced by her

professors Irving McHose and Wayne
Barlow. Kasilag’s
compositions demonstrated a fusion of
Eastern and Western styles in using
instruments, melody, harmony, and
rhythm. She is particularly known for
incorporating indigenous Filipino
instruments into orchestral productions.
Among Kasilag’s many compositions are Toccata for Percussion and Winds
(1959), composed for indigenous Muslim instruments and Western instruments;
The Legend of the Sarimanok (1963), composed for chamber orchestra and
Philippine ethnic instruments; Divertissement and Concertante (1960),
compositions for piano and orchestra combining Western and Eastern forms,
harmonies, and intervals; and Dularawan (1969), a musical drama combining a
dance solo with a chorus and an ethnic orchestra. Her other works include
compositions for piano, instrumental ensemble, and chorus.
She was equally admired in the academe as a former Dean of the College of Music
and
Fine Arts, Philippine Women’s University. In the cultural field, she was the
President of the Cultural Center of the Philippines. In the dance circles, she was
the President and
Music Director of the Bayanihan Dance Company. She also served as Chairman of
the
Asian Composers’ League and the League of Filipino Composers.
She is credited for having written more than 200 musical works, ranging
from folksongs to opera to orchestral works, which she continued to
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compose for the rest of her life. For all these outstanding achievements, she
was conferred the title of National Artist for Music in 1989. She passed
away in Manila in August 2008.
Contemporary
Philippine Music
RAMON P. SANTOS
(1941 – )
Ramon P. Santos was born in Pasig on

February 25, 1941. He completed his
Bachelor of Music degree at the College
of Music, University of the Philippines.
He finished his Master of Music degree at
Indiana University, USA. He received his
Doctor of Philosophy degree in
Composition at the State University of
New York, USA. He had also pursued
graduate studies in Ethnomusicology at
the University of Illinois, USA.
Santos’ compositional style features chromaticism, music seria, and electronic

components, combined with indigenous Philippine music elements. His works
include Ding Ding Nga Diyawa, Nabasag na Banga at Iba’t iba pang Pinag-
ugpong-ugpong na Pananalita sa
Wikang Pilipino para sa Labing Anim na Tinig, and L’BAD. He had done
extensive research on the gamelan music of Java as well as the traditional
music of the Ibaloi,
Maranao,Mansaka,Bontoc,Yakan,and Boholano tribes in the Philippines.
Santos held the position of Dean of the UP College of Music from 1978 to
1988. At present, he is the head of the UP Center of Ethnomusicology and
was appointed Professor Emeritus of the same institution. He was conferred
the title of National Artist for Music in 2014.
FR. MANUEL MARAMBA, OSB

(1936 – )
Fr. Manuel Perez Maramba, OSB is one of the most

accomplished musicians and liturgists in the
Philippines emerging during the second half of the

93
20th century. He was born on July 4, 1936 in
Pangasinan.
When he was 11 years old, he gave his first public

performance at the Bamboo Organ in Las Piñas. He
became the official accompanist of the Las Piñas Boys
Choir at 14 years old. He was the youngest finalist to
participate in the National Music Competitions for
Young Artists (NAMCYA) piano competition
in 1978. Immediately after high school, he was sent on full scholarship to the
University
for Music and Performing Arts in Graz, Austria. There, he earned with
distinction the degree of Master of Arts in Church Music. He also received a
Teacher’s Certificate in
Organ. His musical career led him to the United States, where he performed at
Carnegie Hall at the age of 19.
After finishing his Bachelor of Music degree major in Piano a the Conservatory of
Music, University of Sto. Tomas (UST), Fr. Maramba pursued his studies abroad where he
received his Master of Music degree, Artist Diploma, Bachelor of Music degree in Composition,
and Teacher’s Certificate in Theory from the Peabody Conservatory of Johns Hopkins
University, USA. He received a Master’s degree of Musical Arts in Performance from Yale
University’s School of Music, USA. He also studied sacred music at the Kirchenmusikschule
in Regensburg, Germany. He took further lessons in piano, organ, and the harpsichord
at the Hochschule fur Musik in Vienna, Austria.
Fr Maramba is a monk at Our Lady of Montserrat Abbey in Manila. He was the

former director of the Paul VI Institute of Liturgy in Malaybalay, Bukidnon during
which he composed the music for the papal mass. A prominent canon lawyer, he served
on the National Appellate Matrimonial Tribunal. He was also a faculty member at the
UST Conservatory of Music, St. Scholatica’s College, and Sta. Isabel College.
He has composed operas like Aba!, Sto. Nino, La Naval, and Lord Takayama
Ukon. His other major compositions are the music for Awakening which was
commissioned by Ballet Philippines and music for Philippine Ballet Theater’s production of
Seven Mansions; three masses – Papal Mass for World Youth Day, 1995; Mass in Honor of St.
Lorenzo Ruiz, and the Mass in Honor of the Sto. Nino; three cantatas – St. Lorenzo Ruiz,
St. Benedict, and St. Scholastica; Three Psalms; A hymn in honor of St. Lorenzo Ruiz,
and the official hymn of the 1996 National Eucharistic Congress; a zarzuela entitled
Ang Sarswela sa San Salvador, and three orchestral works – Pugad Lawin, The Virgin
of
Naval, and Transfiguration.
JERRY DADAP
(1935 – )

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Jerry Dadap, the first Filipino composer to conduct
his own works at the Carnegie Recital Hall in New
York City, was born
on November 5, 1935 in Hinunangan, Southern Leyte.
He earned his Bachelor’s Degree in Music, major in
Composition
at the Conservatory of Music, University of the
Philippines (UP) in 1964.
In 1968, he went to the USA on a study-observation

grant from the Music Promotion Foundation of the
Philippines. While there, he received a full
scholarship grant from the United Presbyterian
Church of USA from 1969 to 1971. During that
time, he obtained his Postgraduate Diploma in Composition at the Mannes
College of Music in New York, USA. Upon his return to the Philippines in
1971, he taught composition, ear training, and orchestration at the Sta. Isabel
College of Music in Manila.
Dadap started composing when he was still studying at Silliman University in the
southern
cityofDumaguete.AmonghisnumerouscompositionsareThePassionateandtheWild
(1960), Mangamuyo I (1976) and Mangamuyo II (1977), The Redemption
(1974), Five Little Fingers (1975), Tubig ng Buhay (1986), Dakilang
Pagpapatawad (1986), Andres
Bonifacio, Ang Dakilang Anak Pawis, Ang Pag-ibig ng Diyos, Balitaw Nos. 1-
7, Lam-ang Epic, Lorenzo Ruiz, Chorale Symphonic Ode Nos. 1 and 2, Aniway
at Tomaneg,
Song Cycle, Nos. 1-4, Choral Cycle Nos. 1-3, and Diyos Ama ay Purihin. His
major works as composer-conductor were performed at the concert “LAHI”
that featured works
by local major composers.
FRANCISCO F. FELICIANO
(1942 – 2014)
Francisco F. Feliciano, avant garde composer

and conductor for band and chorus, was born on
February 19, 1942 in Morong, Rizal. His first
exposure to music was with the Morriz Band, a
brass ensemble established and owned by his
father, Maximiano Feliciano. He started his music

95
career in the high school band where he had
played the cymbals and the clarinet.
Feliciano obtained his Teacher’s Diploma in

Composition and
Conducting at the Conservatory of Music,
University of the
Philippines (UP) in 1964, and a Bachelor of Music
degree
major in Composition in 1967. Subsequent degrees include a Master in Music

Composition from the University of the Philippines, a Diploma in Music
Composition from the Hochschule der Kunst in Berlin, Germany, and a Master of
Musical Arts and Doctorate in Music Composition from Yale University School of
Music, USA. He studied composition with Jacob Druckman, Isang Yun, H.W.
Zimmerman and Krystof Penderecki.
Feliciano became the choir conductor and instructor in music fundamentals at

St. Andrews Seminary in Quezon City. He became an instructor at the UP
Conservatory of Music and conducted the UP Symphony Orchestra. He was the
musical director of the movie Ang Bukas ay Atin and provided orchestration for
a number of musical productions including My Fair Lady and various Philippine
productions. Feliciano composed more than 30 major works, including the
musical dramas Sikhay sa Kabila ng Paalam, Ashen Wings, and the monumental
three-act opera La Loba Negra (1984). He also wrote music for the orchestra
such as Prelude and Toccata (1973), Fragments (1976), Life of Wartime
Filipino
Hero Jose Abad Santos, and the ballet Yerma (1982).
Among his other large works are Transfiguration and Missa Mysterium for orchestra and
large chorus. He has composed several prize winning works such as Pokpok Alimpako, (a
favorite piece of choirs in international choral competitions), Salimbayan, Umiinog, and
Walang Tinag( Perpetuum Imobile) which was premiered at the ISCM Festival in New York
City, USA. His latest choral works, Pamugún and Restless, have been performed by Filipino
choirs in various choral festivals in Europe.
In 1977, he was given a John D.Rockefeller III Award in Music Composition.
Feliciano composed hundreds of liturgical pieces, mass settings, hymns, and

songs for worship. He founded the Asian Institute for Liturgy and Music
(AILM) in Quezon City, a school for church musicians, and supervised the
publication of a new Asian hymnal containing mostly works of Asian
composers. He was conferred the title of National Artist for Music in 2014.
He died on September 19, 2014.
JOSEFINO TOLEDO
(1959 – )
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Josefino “Chino” Toledo is a recognized figure in the
Asian contemporary art music scene. He received his
Master of Music
degree from the Cleveland Institute of Music, USA.
Among his awards are the following: “Ten
Outstanding Young Men” (TOYM); “International
Award for the Arts”; “Civitella Ranieri Fellowship
in Italy”; and the “Chancellor Awards for
Outstanding Musical Works,” University of the
Philippines.
Toledo served at the Pangkat Kawayan (a bamboo orchestra) from 1966 to 1979
and the Philippine Youth Orchestra (PYO) in 1977-1978. A principal percussionist
of the Manila Symphony Orchestra in 1980-1983, he later became music director
and principal conductor
in 1985. He attended the 1984 International Computer Music Conference in
France. He was the country’s representative to the 1980 Young Composers
Conference in HongKong,
the ASEAN Composers Forum on Traditional Music in 1989 (Philippines)
and 1993 (Singapore), the 1995 ASEAN Composers Workshop (Indonesia),
and the 1996 International Composers Workshop (Gaudeamus,
Amsterdam). He was also a fellow at the 1990 Pacific Music Festival and
Pacific Composers Conference (Japan).
Toledo is a Music Professor at the College of Music, University of the

Philippines (UP). He is the founding music director of the Metro Manila
Community Orchestra, the UP Festival Orchestra, and the Crosswave
Symphony Orchestra. He is noted for conducting the premiere
performances of the works of Filipino composers as well as other Asian
composers. His own music, including works for chorus, orchestra, chamber
ensemble, solo instrument, and music theater have been performed by well-
known international artists and ensembles.
JONAS BAES
(1961 – )
Jonas Baes was born in Los Baños, Laguna in 1961.

He enrolled at the College of Music, University of
the Philippines (UP) in 1977 as a student of Ramon
P. Santos.While at UP, he encountered the works of
Jose Maceda and attended several seminar-
workshops of visiting lecturers. He researched on
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the music of the Iraya-Mangyan people of Mindoro,
which later became the inspiration for his
compositions. From 1992-1994, he studied with
Mathias Spahlinger in Freiburg, Germany.
Baes is known for writing music utilizing unorthodox musical instruments such
as bean-pod rattles, leaves, iron-nail chimes, and various Asian instruments such
as bamboo scrapers, bamboo flutes, and vocal music using Asian vocal
techniques. His early works in the 1980s were influenced by Maceda in the use of
large numbers of performers.
Inthe1990s,he experimented with various methods by which the audience became integral
in the performance. It was also typical for social theory to influence the work of Baes who
has made a mark on contemporary music and cultural politics in the Asian region.
Some of Baes’ musical compositions include: Imagined Community, after Benedict

Anderson for four bamboo scrapers, bamui trail caller, sarunai for oboe, khaen for
mouth organ, and about a hundred iron nail chimes distributed among the
audience; 1997/2001; WALA (Nothingness) for seven or hundreds of men’s
voices 1997/2001;
DALUY (Flow)interval music for five animator-percussionists and about a
hundred bird whistles distributed among the audience, 1994; IBO-IBON
(birdwoman) for dancer wearing small bells, two large wind chimes passed around
the audience, four animator-callers, and iron nail chimes played by the audience
(1996); SALAYSAY, for solo voice, three percussionists, and pairs of pebbles
distributed among the audience; PATANGIS-BUWAYA (and the crocodile weeps)
for four sub-contrabass recorders or any blown
instruments 2003; PANTAWAG (music for calling people) for 15 bamboo
scrapers, 15 palm leaves, and 20 muffled “forest” voices 1981; and
BASBASAN (blessing) for 20 bean-pod rattles and 20 muffled men’s voices
1983.
Baes received the Gawad Chancellor para sa Pinakamakusay na

Mananaliksik (Hall of Fame, 2003) from the University of the Philippines. He
is currently an Associate Professor in Composition and Theory at the UP
College of Music as well as an ethnomusicologist, cultural activist, and writer.

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SUMMARY
Jose Maceda’s musical style shifted when he encountered the music of the indigenous
tribes of Mindoro in 1953. He then embarked on his life’s work, dedicated to the
understanding and preservation of Filipino traditional music. His extensive research
and fieldwork resulted in an immense collection of recorded music taken from the
remote mountain villages and far-flung inland communities in the Philippines.
Lucrecia Kasilag’s compositional style demonstrated a fusion of Eastern and Western

styles in using instruments, melody, harmony, and rhythm. She is particularly known for
incorporating indigenous Filipino instruments into orchestral productions.
Ramon Santos’ compositional style features chromaticism, music seria, and

electronic components, combined with indigenous Philippine music elements.
Fr. Manuel Maramba OSB, one of the most accomplished musicians in the
Philippines, is best known as a liturgical composer whose body of works lean towards
religious figures and events. His versatility as a pianist, composer, arranger, theorist,
and teacher is widely recognized in the local musical scene.
JerryDadap, the first Filipino composer to conduct his own work sat the Carnegie Recital
Hall in New York City,
Francisco Feliciano is one of Asia’s leading figures in liturgical music, having

composed hundreds of liturgical pieces, mass settings, hymns, and songs for worship.
At the Asian Institute for Liturgy and Music, a school for church musicians which he
founded, he supervised the publication of a new Asian hymnal containing mostly
works of Asian composers.
Josefino Toledo is the founding music director of the Metro Manila Community
Orchestra, the UP Festival Orchestra, and the Crosswave Symphony Orchestra. He is
noted for conducting the premiere performances of the works of Filipino composers
as well as other Asian composers. His own music has been performed by well-known
international artists and ensembles.
Jonas Baes, Associate Professor in Composition and Theory, ethnomusicologist,

cultural activist, and writer, has explored innovative territories and unusual musical
treatments in his works.

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WHAT TO KNOW
1. Research and describe the characteristics of New Music.
2. Discuss the lives and works of following 20th century Filipino composers and
performers:
a. Jose Maceda e. Jerry Dadap

b. Lucrecia Kasilag f. Francisco Feliciano
c. Ramon Santos g. Josefino Toledo
d. Fr. Manuel Maramba, OSB h. Jonas Baes
3. Point out the characteristics of the musical style of the above-mentioned

Filipino composers.
Composer Characteristics of the Musical Style
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WHAT TO PROCESS
1. Your teacher will play excerpts of recordings of any (one composition)

of the following works by Filipino new music composers:
a. Jose Maceda - Ugma-Ugma; Agungan ; Pagsamba; Ugnayan; Udlot

Udlot
b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legend

of the Sarimanok; Divertissement and Concertante; Dularawan
c. Josefino Toledo - 2nd Og-og; Abe; Ako ang Daigdig; Alitaptap; Aliw-iw;
Awiting Bayan; Barasyon; Asia; Kah-non; Humigit Kumulang; Lima;
Mi-sa; Missa de gallo; Oyog-Oyog; Musika para sa; Pasyon at Buhay;
Pompyang; Pintigan; Pilipino Komiks; Sigaw; Tatluhan;
Auit, Ub-og; Ug-nay; Tula-li
d. FranciscoFeliciano- Sikhay saKabilangPaalam;AshenWings; La Loba

Negra; Prelude and Toccata ; Fragments; Yerma; The life of wartime
Filipino hero, Jose Abad Santos; Transfiguration; Missa
Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag;
Pamugún and Restless
e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I) and

Mangamuyo II; The Redemption; Five Little Fingers; Tubig ng
Buhay; Dakilang Pagpapatawad; Andres Bonifacio, Ang Dakilang
Anak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-ang
Epic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2;
Aniway at Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3;
Diyos Ama ay Purihin; Lam-ang Epic; Mangamuyo I and II; Five
Little Fingers; Tubig ng Buhay; The Redemption.
f. Fr. Manuel Maramba - Aba!, Sto. Nino; La Naval; Lord Takayama

Ukon; Awakening ; Seven Mansions; Papal Mass for World Youth
Day, 1995; Mass in Honor of St. Lorenzo Ruiz; Mass in Honor of the
Sto. Nino; cantatas St. Lorenzo Ruiz, St. Benedict, and St. Scholastica;
Three Psalms—A hymn in honor of St. Lorenzo Ruiz, and the official
hymn of the 1996 National Eucharistic Congress; Ang Sarswela sa
San Salvador; Pugad Lawin; The Virgin of Naval; and
Transfiguration.

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g. Ramon Santos - Ding Ding ng a Di ya wa ; Nab as ag n a

B an ga a t Ib a’t i ba p an g P in ag - ug po ng -u g po ng n
a Pananalita sa Wikang Pilipino para sa labing anim na
tinig, and L’BAD
h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBO-

IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA ;
PANTAWAG ; BASBASAN (Blessing).
2. Listen carefully to each excerpt and be able to recognize the

different musical elements and styles of the composers.
3. Analyze the music focusing on the elements of music present, such as

rhythm, melody, tempo and dynamics, texture and harmony, form, and
timbre.
4. Choose a composition that you like. Write a reaction paper on it
WHAT TO UNDERSTAND: SOLO
1. Compose a simple song incorporating indigenous music and

folksongs or you may adapt a certain melody from the
compositions of the New Music composers that you like. Write
the new lyrics to fit the music.
2. You may include an accompaniment or improvised musical
instruments.
3. Sing it a capella (without accompaniment) or with
accompaniment.
4. Perform your composition or song adaptation in class.
5. Choreograph dance movements by interpreting the music of
the new composer that you have chosen, if needed.
6. Perform in class.
7. Write a reaction paper on “How did you feel in our
incorporating our indigenous music to your compositions or
song adaptations.” Submit it in class next meeting.

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SONG COMPOSERS
T he 20th century Filipino song composers/lyricists include Levi Celerio, Constancio

de Guzman, Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco,
Angel Peña , Leopoldo Silos Sr., Santiago Suarez. Together, they had produced a
memorable output of traditional Filipino love songs, music for the movies, and materials
for contemporary arrangements and concert repertoire.
LEVI CELERIO
(1910 – 2002)
National Artist for Literature and Music
Prolific lyricist and composer Levi Celerio was named

National Artist for Music and Literature in 1997. Also a
violinist, he had written the lyrics for over 4,000 songs in
his lifetime, including many for film. A great number of
Kundimans and Filipino love songs have lyrics written by him,
most notable of which are Dahil sa Iyo, Buhat, and
Ang Pasko ay Sumapit.
Celerio was known for creating music

with a mouth-blown leaf
Celerio was born in Tondo on April 30, 1910. He studied at the Academy of Music in
Manila under a scholarship. Later, he went on to join the Manila Symphony
Orchestra. Aside from writing his own lyrics, he also translated and re-wrote the
lyrics of folksongs to traditional melodies like Maliwanag Na Buwan from Ilocos,
Ako ay May Singsing from Pampanga, and Alibangbang from the Visayas.
His achievements include a citation in the Guinness Book of World Records for being
the only person to make music with a mouth-blown leaf. He will forever be
remembered through his lyrics for songs such as Ang Pipit (music by Lucio D. San
Pedro); Bagong Pagsilang (music by Felipe Padilla de Leon); Sa Ugoy ng Duyan
(music by Lucio D. San Pedro); Misa de Gallo (music by J. Balita); Itik-itik (folk
song); Tinikling (folk song), among others. Celerio passed away on April 2, 2002.

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CONSTANCIO DE GUZMAN
(1903 – 1982)
Constancio Canseco de Guzman was born on November 11,

1903 in Guiguinto, Bulacan. He grew up in Manila where he
studied piano and composition under Nicanor Abelardo. At the
prodding of his father, he went to law school but switched to
pursue and finish a BS Commerce degree at Jose Rizal College
in 1928. He passed the certified public accountants (CPA)
board examinations in 1932. After he took the CPA board
exam, he started working for the movies.
Acknowledged as the “Dean of Filipino Movie Composers and

Musical Directors,” De Guzman became the music director of
movie production companies like Sampaguita, LVN, Royal,
Excelsior, Lea, and Tagalog Ilang-Ilang Productions. His “unexpected” hit music,
Panaginip, paved the way for him to record hundreds of songs, principally under
Villar and Columbia Records.
In1948,his song Ang Bayan Ko and Kung Kita’y Kapiling won the gold medal at the Paris International
Fair. Bayan Ko was later adopted as the symbolic song of the People
Power Movement of 1986. The same song won for him the Awit Award for Best Filipino
Lyricist. Some of De Guzman’s notable compositions include Babalik Ka Rin, Ang Tangi
Kong Pag-ibig, Birheng Walang Dambana, Maalaala Mo Kaya, and Sa Piling Mo.
De Guzman passed away on August 16, 1982.
MIGUEL “MIKE” VELARDE

JR. (1913 – 1986)
Miguel “Mike” Guison Velarde Jr, composer, conductor, movie actor, and musical
director was born in Manila on October 23, 1913 as the second of two children of Dr.
Miguel Velarde, Sr. and Dolores Guison. His family moved to Zamboanga when he
was only one year old and where he spent the succeeding eighteen years of his life.
His exposure to the unaffected and unpretentious environment of Basilan and
Zamboanga had influenced his creative imagination, mainly nurtured by his mother
who became his first music teacher in piano and violin when he was six years old.
Velarde studied at the Zamboanga Normal School, where he became a member of the
school orchestra and graduated as valedictorian. He then went to Manila to pursue
medicine at the University of the Philippines, but later realized that it was music that he
truly loved. He learned the basics of harmony and composition from Antonio Molina and
Ariston Avelino as he further deepened his musical knowledge through self-study.

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Later, when his father however objected to his plans to pursue a music career, he went on
to support himself as a bus conductor to realize his dream. He later got a job at a radio
station where he was featured as singer and jazz composer in its morning and evening
programs. He also opened a jazz school and became song editor for the Philippines Free
Press.
Velarde eventually went into writing Tagalog songs, composing the song Ugoy-Ugoy
Blues which opened opportunities for him in the movies. He had a jazz band known as
“Mike Velarde’s Jazztocrats.” He became editor of the Literary Song Movie Magazine.
Velarde composed musical scores for Sampaguita Films’ movie productions and
managed its advertising department. Among his most important works were Luksang
Tagumpay, which received the FAMAS (Filipino Movie Arts and Sciences) Award
for Best Picture (1960) and for which he wrote its story and screenplay, and Alaala
Kita for Best Director (1961). He attributes substantive influence from American
composer and songwriters Irving Berlin and Cole Porter.
In subsequent years, Velarde created his own style as he composed highly melodious and
romantic songs such as Ikaw, Lahat ng Araw, Habang Buhay, Minamahal Kita , Ikaw ay
Akin,and Dahil SaIyo.In1970, he won the Best Conductor award at the First International
Popular Song Contest in Japan with his composition As Long as Forever. He received
the Cultural Achievement Award in Popular Music from the Philippine Government
Cultural Association in 1975 and the Gawad CCP Para Sa Sining in 1986. His other
compositions include Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Dating
Sumpaan, Dalisay, Eternally Yours, and Gabi at Araw. Velarde passed away in 1986.
SANTIAGO SUAREZ
(1901 – 1964)
Santiago Suarez was born in Sampaloc, Manila. He learned how to play the piano
from his grandmother who was also a competent harpist, while his grandfather played
the flute. He attended the Conservatory of Music, University of the Philippines and
the Ateneo de Manila in Intramuros. He took private music lessons from Caetano
Jacobe, Pedro Floriaga, and Nicanor Abelardo.
Suarez’s compositions are a mixture of the soulful kundiman style and the lively strains
of the countryside. The melodies are tonal and catchy, while the rhythms follow the
regular meter with minimal tempo changes. His harmonies follow the traditional classical
progression, making his compositions easy to understand without the complexities of
form and structure. Some of his works are quite popular and heard even with today’s
classical singers, pop singers, and choral groups. They include the following: Ligaya Ko,
Pandanggo ni Neneng, Dungawin mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis
ng Nayon, Harana, Kataka-taka, Labandera Ko, Lakambini, Kamia, Ikaw ang Buhay

105
Ko!, Kay Lungkot nitong Hating-Gabi, and Mutya Niyaring Puso. Suarez passed away
in 1964.
RESTITUTO “RESTIE”
UMALI (1916 – 1998)
Restituto Aquino Umali was born in Paco, Manila on June 16, 1916. His early
exposure to music was due to the influence of his father who taught him violin as well
as his exposure to the regular family rondalla. He was also taught solfeggio and score
reading at the Mapa High School where he became an active member of the school
glee club and orchestra.
Umali played the E-flat horn, trombone, and tuba when he was part of the UST (University of
Santo Tomas) Band. He also taught choral arranging and orchestration at the UST
Conservatory of Music. He majored in Composition and Conducting at the Conservatory of
Music, University of the Philippines (UP) and Commerce at the Jose Rizal College.
He even passed an electrician’s course at the Philippine School of Arts and Trades
before embarking on a rewarding career as musical scorer for movies.
During World War II ,Umali took lessons in harmony from Felipe Padilla de Leon. Shortly after the
war, he performed with the Manila Symphony Orchestra. He continued his studies in composition and
conducting even while teaching at the UP Conservatory of Music. He was under the tutelage of noted
composers such as Lucrecia Kasilag, Antonio Buenaventura, and Ramon Tapales.
Umali arranged the Philippine national anthem and the local classic Kataka-taka for the
Boston Pops Orchestra when it performed for the Philippine Independence Night in
Boston in 1972. He composed approximately 120 movie theme songs and more than
250 scores for movies. His musical scoring career was capped by a Universal Pictures’
production of No Man Is An Island starred by Jeffrey Hunter and Barbara Perez. His
musical scores for the movies Sa Bawat Pintig ng Puso (1964), Pinagbuklod ng Langit
(1969), Mga Anghel na Walang Langit (1970), and Ang Alamat (1972) won for him
“Best Musical Score” honors at the Filipino Academy of Movies Arts and Sciences
(FAMAS Awards). He also garnered the “Best Music Awards” for Bitter-Sweet at the
1969 Manila Film Festival and Ang Agila at Ang Araw at the 1973 Olongapo Film Festival.
Among Umali’s most popular songs are Saan Ka Man Naroroon, Alaala ng Lumipas,
Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka Nag-iisa, and Paano Kita Lilimutin.
He had arranged the performance of Maestro Federico Elizalde’s Manila Little Symphony
aired on radio stations DZRH and DZPI, apart from his stint as musical director fof
Sampaguita Pictures.

106
BAYAN KO (Excerpt)
Constancio de Guzman, music / Corazon de Jesus, lyrics
DAHIL SA IYO (Excerpt)

Mike Velarde Jr., music / Dominador Santiago, lyrics
BAKYA MO NENENG (Excerpt)

Santiago Suarez
SAAN KA MAN NAROROON (Excerpt)

Restie Umali, music / Levi Celerio, lyrics

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ANGEL PEÑA
(1921 – 2014)
A n g e l M is a classical and jazz composer,

a t i a s P e ñ a
arranger, and bass player. He is widely considered by

modern Filipino jazz musicians as “one of the founders
of traditional jazz in the Philippines.”
He was born was born on April 22, 1921 to a musical family.

Peña learned solfeggio from his mother Rosario Velarde
Matias. His mother was a schoolteacher who studied voice at
the University of the Philippines. His father, Gregorio Cid
Peña, played the violin. His grandfather was a respected
guitar player. He grew up in Malabon which was then famous for its musicians and
marching bands. At the age of 11 when his mother passed away, he was discouraged
by his father to continue his musical pursuits. But, the boy persisted and proceeded to
study music theory and composition.
Peña wrote his first original jazz composition just before World War II erupted. He
also wrote kundimans for the young women he would be courting. After the war ,he became
one of the most sought-after musical arrangers in Manila. He had also switched from guitar to bass.
This switch ledhim to write orchestral background music for variousmusical ensembles.
He also wrote musical scores for film companies, most notably LVN Pictures. As his
interest in classical composition grew more intense, he formed a big band in 1956 for the
Upsilon Sigma Phi’s traditional concert at the University of the Philippines. During
that time, he composed Bagbagtulambing, a landmark in Philippine music.
In 1959, the University of Santo Tomas launched a national symphonic composition

contest open to Filipino composers. Peña’s entry Igorot Rhapsody won first prize the
following year. Since then, he moved effortlessly between the jazz and classical
idioms. In the mid-1960s during his 3-year stint in Hongkong, he earned a Licentiate
with the Royal School of Music in London.
Peña auditioned for the Honolulu Symphony Orchestra. He was immediately accepted as
bassist and later as arranger in 1969. He would spend the next 28 years in Hawaii, where he
continued to write his own music. As farewell homage, the Manila Symphony Orchestra
performed his Concerto for Double Bass and Orchestra. In 1981 on the occasion of the 75th
anniversary of Filipino presence in Hawaii, the Honolulu Symphony premiered his Concerto
for Jazz Quartet and Orchestra with an all-star Filipino jazz quartet.
The following year, the Cultural Center of the Philippines performed a concert of his
classical works in his honor. Despite of his absence from Manila, local jazz groups

108
continued to play his compositions. The seeds that he had sown began to bear fruit.
Now, a new generation of Filipino musicians are starting to discover the composer.
When he finally came back to the Philippines, he started teaching scholars in Double
Bass as an adjunct faculty member of the UP College of Music. He started
collaborating with the UP Jazz Ensemble on a number of concerts.
In 1998, a House Resolution from the State of Hawaii’s House of Representatives was
passed to honor Peña for his contributions in the field of music as a world renowned jazz
musician, musical arranger, and Hawaii’s own living classical composer. The Jazz Society
of the Philippines-USA further gave him a Lifetime Achievement Award at the Third
Annual Fil-Am Jazz Festival in Hollywood. Pena passed away on December 22, 2014.
ERNANI CUENCO
(1936 – 1988)
ErnaniJoson Cuenco,composer,filmscorer,musical director
and music teacher, was conferred the National Artist Award for
Music in 1999. His works embody a Filipino sense of
musicality that contain the classical sound of the kundiman.
Cuenco was born on May 10, 1936 in Malolos, Bulacan. As a

boy, he was encouraged to learn the violin. He was mentored
by his mother, his godmother Doña Belen Aldaba Bautista,
and his first teacher, Jovita Tantoco. He earned his Bachelor’s
Degree in Music, major in Piano at the UST Conservatory of
Music in 1956. A UST scholarship grant in the same year
enabled him to study the cello under Professor Modesto
Marquiz, which he finished in1965.
In 1968, he completed his Master of Music degree at the Sta. Isabel College.
From 1960 to 1968, Cuenco was a cellist at the Manila Symphony Orchestra under
Dr. Hubert Zipper. Likewise, he played for the Filipino Youth Symphony Orchestra
and the Manila Chamber Soloists from 1966 to 1970.
His career as a musical director began in 1960 when he was discovered by then actor
Joseph Estrada while he was playing as part of a band he had formed with friends at
an exclusive restaurant in Makati. In 1963, Cuenco was sent as a delegate to the
International Music Conference in Tokyo, Japan. Aside from being a composer and
musical director, he was also a faculty member at the UST Conservatory of Music
until his death on July 11, 1988.

109
To this day, Cuneco’s compositions are popular and well-loved, especially Gaano Ko
Ikaw Kamahal and Bato sa Buhangin which he composed for films in honor of his wife.
Aside from these signature pieces, Cuenco’s other songs include Nahan, Kahit na Magtiis,
Diligin Mo ng Hamog ang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang Dalangin, and
Kalesa.
GEORGE CANSECO
(1934 – 2004)
George Masangkay Canseco was born on April 23, 1934 in

Naic, Cavite. He graduated with a Liberal Arts degree at the
University of the East. After graduation, he worked for the
Philippines Herald and the Associated Press as a journalist. He
also worked as a “free-lance scriptwriter for hire” in Manila.
Canseco was considered as “a nationally acclaimed composer

of numerous popular classics.” He was commissioned by
Former First Lady Imelda R Marcos to compose an additional tribute hymn
entitled Ako Ay Pilipino (I Am A Filipino). He wrote the classic Kapantay
Ay Langit, a theme from the award-winning motion picture of the same title,
sung by Amapola. Its
English version entitled You’re All I Love containing some Tagalog lyrics was sung by
American singer Vic Dana. The song won the Manila Film Festival “Best Song of the
Year Award” in 1972. He followed it with an English song entitled Songs exclusively for
Songs and Amapola under the Vicor Music Corporation Pioneer Label.
One of his best-known compositions was Child, the English-language version of Freddie
Aguilar’s signature song Anák . He wrote songs for the country’s top popular singers
such as Sharon Cuneta, Basil Valdez, Regine Velasquez, Zsa Zsa Padilla, Pilita
Corrales, Martin Nievera, and Kuh Ledesma.
Canseco credited film producer and Vicor Music Corporation owner Vic del Rosario
for giving him his biggest break in the music industry. He was elected President of
the Filipino Society of Composers, Authors and Publishers, Inc. (FILSCAP) in 1973.
He was also elected as Councilor for the First District of Quezon City in 1988.
His legacy as a composer include approximately 120 song titles including Ikaw, Kailangan
Kita, Dito Ba, Hiram, Tubig at Langis, Hanggang sa Dulo ng Walang Hanggan,
Sinasamba Kita, Kastilyong Buhangin, Minsan Pa Nating Hagkan ang Nakaraan,
Ngayon at Kailanman, Saan Darating ang Umaga, Sana Bukas Pa ang Kahapon, Dear
Heart, Gaano Kadalas ang Minsan, Paano kita Mapapasalamatan, and Kahapon
Lamang. He passed away on November 19, 2004 in Manila.

110
GAANO KO IKAW KAMAHAL (Excerpt)

Ernani Cuenco, music / Levi Celerio, lyrics
DAHIL SA ISANG BULAKLAK (Excerpt)

Leopoldo Silos Sr., music / Levi Celerio, lyrics

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LEOPOLDO SILOS Sr.

(1925 – 2015)
Leopoldo Silos Sr. was born on March 6, 1925.

He was a composer, singer, and arranger. He
composed and recorded a number of romantic
songs, the most famous of which were two of his
well known hits, Dahil Sa Isang Bulaklak
(Because Of One Flower) and Hindi Kita
Malimot (I Can’t Forget You). He was also the
award-winning musical director of the long-
running television musical program, Aawitan
Kita, which starred Armida Siguion-Reyna.
Accordingly, the music of Silos touches the sentiment quite deeply. His lyrical melodies are
complemented by exotic harmonies. His melodies were made more appealing through their extended
chords, diminished intervals, and secondary dominants. Thus, that enriched the otherwise basic chordal
patterns accompanying a tonal melody. Although not as widely performed as ot her main stream love
songs and kundimans, his musical ways impresses the listener with its melodic sincerity and elegantly
crafted accompaniments. The other notable compositions of Silos include Aling Kutsero, Ay Anong
Saklap, Basta’t Mahal Kita, Diyos Lamang ang Nakakaalam, Hindi Ko Malilimutan, Lagi
kitangNaaalala, Langit sa Lupa, Halina Halina, Lihim na Pag-ibig, and Mundo Ma’y Mawala.
He died on March 10, 2015.
SUMMARY
Song composers became popular with their musical compositions used as musical
background or theme songs in movies and films.
Levi Celerio made it to the Guinness Book of World Records for being the only
person to make music with a leaf. He received numerous awards for his musical
achievements in film.
Constancio de Guzman was acknowledged as the “Dean of Filipino movie composers

and musical directors.” He is the composer of the nationalistic song Bayan Ko.
Mike Velarde Jr. was a composer, conductor, and musical director. He composed
the popular song Dahil Sa Iyo in 1938. In 1975 the Philippine Government Cultural
Association awarded him the Cultural Achievement Award in Popular Music. He
received the Gawad CCP Para Sa Sining in 1986.

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Ernani Cuenco was a composer, film scorer, musical director, and music teacher. He
was hailed as a National Artist in Music in 1999. His works embody the Filipino sense
of musicality. The classical sound of the kundiman is evident in some of his ballads.
Up to this day, his compositions are popular and well-loved.
Restie Umali was a composer, teacher, and musical arranger. He arranged the
Philippine national anthem and the local classic Kataka-taka for the Boston Pops
Orchestra when it performed for the Philippine Independence Night in Boston in
1972. He wrote a total of more or less120 movie theme songs. He composed more
than 250 scores for movies which was capped by a Universal Pictures production of
No Man Is An Island starred by Jeffrey Hunter and Barbara Perez.
George Canseco was considered “a nationally acclaimed composer of numerous

popular Filipino classics.” He composed songs for Filipino singers and movie stars.
Angel Peña is a classical and jazz composer, musical arranger, and bass player. He is
widely considered by modern Filipino jazz musicians as “one of the founders of
traditional jazz in the Philippines.”
Leopoldo Silos Sr. was a composer, singer, and musical arranger. He composed and recorded
romantically soulful songs. He was the award winning musical director of the television musical
Aawitan Kita.
Santiago Suarez was an accomplished composer of traditional Filipino love songs.

His popular works include Dungawin Mo Hirang, Bakya Mo Neneng, Caprichosa, Sa
Libis ng Nayon, and Kataka-taka.
WHAT TO KNOW
1. Discuss the lives and musical contributions of the following 20th

century Filipino song composers
a. Levi Celerio f. George Canseco

b. Constancio de Guzman g. Angel Peña
c. Mike Velarde Jr. h. Leopoldo Silos Sr.
d. Ernani Cuenco i. Santiago Suarez
d. Restie Umali
2. For each of the composers named above, give the title of any of his
compositions.

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Composer Title of Any Composition
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WHATTOPROCESS
1. Your teacher will play excerpts of recordings of any of the following

works by Filipino song composers:
a. Levi Celerio - Ang Pipit; Sa Ugoy ng Duyan; Misa de Gallo;

Itik-itik (folk song); Tinikling (folk song); and Ang
Pasko ay Sumapit.
b. Constancio
de Guzman- Bayan Ko, Babalik Ka Rin, Ang Tangi Kong Pag-
ibig, Birheng Walang Dambana, Maalaala Mo
Kaya, Sa Piling Mo, Ang Langit ko’y Ikaw
c. Mike Velarde Jr. - Buhat, Ikaw, Bituing Marikit, Minamahal Kita,

Dating Sumpaan, Dalisay, Eternally Yours, Gabi
at Araw, Dahil sa Iyo

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d. Ernani Cuenco - Nahan, Kahit na Magtiis, Diligin Mo ng Hamog

ang Uhaw na Lupa, Pilipinas, Inang Bayan,
Isang Dalangin, Kalesa, Gaano Ko Ikaw
Kamahal, Bato sa Buhangin
e. Restie Umali - Saan Ka Man Naroroon, Alaala ng Lumipas, Ang

Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka
Nag-iisa, Paano Kita Lilimutin
f. George Canseco - Ikaw, Kailangan Kita, Dito Ba, Hiram, Langis at

Tubig, Hanggang sa Dulo ng Walang Hanggan,
Sinasamba Kita, Kastilyong Buhangin, Minsan
pa nating hagkan ang Nakaraan, Ngayon at
Kailanman, Saan Darating ang Umaga, Sana
Bukas Pa ang Kahapon, Dear Heart, Gaano
Kadalas ang Minsan
g. Angel Peña- Bagbagtulambing,IgorotRhapsody,Concertofor
Double Bass and Orchestra, Concerto for Jazz
Quartet and Orchestra
h. Leopoldo Silos Sr. Dahil sa Isang Bulaklak, Hindi Kita Malimot,

Aling Kutsero, Ay Anong Saklap, Basta’t Mahal
Kita, Diyos lamang ang nakakaalam, Hindi ko
Malilimutan, Lagi kitang Naaalala, Langit at
Lupa, Halina Halina, Lihim na Pag-ibig, Mundo
Ma’y Mawala
i. Santiago Suarez - Ligaya Ko, Pandanggo ni Neneng, Dungawin Mo

Hirang, Bakya Mo Neneng, Caprichosa, Sa
Libis ng Nayon, Harana, Kataka-taka,
Labandera Ko, Lakambini, Kamia, Ikaw ang
Buhay Ko!, Kay Lungkot Nitong Hating-Gabi,
Mutya Niyaring Puso
2. Listen carefully to each excerpt and be able to recognize the different

musical styles of the composers.

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WHAT TO UNDERSTAND: SOLO, DUET, TRIO, QUARTET,
QUINTET
1. Compose a simple song. Write the lyrics and the music.

2. You may adapt a certain melody from the
compositions of the song composers that you like.
Write the new lyrics to fit the music.
3. You may include an accompaniment such as guitar,
flute, recorder, keyboard, drums, tambourine,
maracas or improvise musical instruments from the
environment.
4. You may sing it a capella (without accompaniment) or with
accompaniment.
5. Do some dance movements of the music.
6. Perform your composition or your song adaptation
and the dance movements.
7. What motivated you to compose or adapt the music of that
song?
8.. How did you feel about this activity?
WHAT TO PERFORM
A. Singing Activity: Song Medley
Sing any of the compositions of Celerio, De Guzman,

Velarde, Cuenco, Umali, Canseco, Peña, Silos, and
Suarez.
B. Let the Elders Perform
1. Interview the 3 or more elders in your barangay.
Guide Questions:
a. Are you familiar with HARANA?
b. Did you experience harana during your
time?
c. Can you still recall the songs being sung
during harana?
Ask him/her to sing parts of it and make
sure to record their performance.
d. What makes harana special during your
time?
2. Ask your respondent to teach you the song.
3. Record your progress and experience.
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Post Assessment
Nicanor Abelardo Hilarion Rubio

Rodolfo Cornejo Felipe de Leon
Rosendo Santos Jr Col. Antonio Buentura
Select the answer from the word above.
1. A nationalist composer who expressed the Philippine cultural identity hrough his
compositions
2. Father of kundiman whose music was Romantic in style
3. A composer, music teacher, conductor and clarinetist.
4. The researcher and official composer of the Philippine government-in-exile, under
President Manuel L. Quezon.
5. He restored the Philippine Constabulary Band in 1945, which was considered one of the
best military bands in the world.

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Key to Correction
Pre-test Post-test
1. D 1. Felipe de Leon
2. F 2. Nicanor Abelardo
3. B 3. Hilarion Rubio
4. E 4. Rodolfo Cornejo
5. A 5. Col. Antonio Buenaventura
Prepared by:


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20th and 21st Century Multimedia Forms
Quarter IV: 20th AND 21st CENTURY

MULTIMEDIA FORMS
CONTENT STANDARDS

1. Characteristic features of 20th and 21st century opera, musical
play, ballet, and other multi-media forms.
2. The relationship among music, technology, and media.
The learner...
1. Performs selections from musical plays, ballet, and opera in a satisfactory level of
performance.
2. Creates a musical work, using media and technology.
LEARNING COMPETENCIES
The learner...
1. Describes how an idea or story in a musical play is presented in a
live performance or video.
2. Explains how theatrical elements in a selected part of a musical play
are combined with music and media to achieve certain effects.
3. Sings selections from musical plays and opera expressively.
4. Creates/improvises appropriate sounds, music, gestures,
movements, and costumes using media and technology for a
selected part of a musical play.
5. Presents an excerpt from a 20th or 21st century Philippine
musical and highlights its similarities and differences to other
Western musical plays.

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MUSIC  Quarter IV
Pre-assessment
True or False: Write T if the statement is correct and if false change the underline
word to make it correct.
_________1. The opera is an art and musical form in which singers and musicians perform a
dramatic work combining text and a musical score, usually in an elaborate theatrical setting.
_________2. The first Filipino Opera is said to have been Sandugong Vendetta by Pedro
Paterno, a poet, novelist, musicians and government official.
_________3. La Loba Negra revolves around the tragic assassination of Spanish Governor
General Fernando Bustamante, whose administration was greatly admired or its planned reforms
in the colonial administration.
_________4. The novel “Noli Me Tangere” was written to expose the ills of the Spanish Catholic
friars and the ruling colonial government.
_________5. Ang Prinsipe ng mga Diwata is a love story where a princess falls in love with a
bird.

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OPERA
IN THE PHILIPPINES
T he emergence of the Filipino opera started to take shape during the middle part of
the 19th century. Foreign performers, including instrumental virtuosi, as well as opera
singers and Spanish zarzuela performers came to the country to perform for enthusiastic
audiences.
The opera is an art and music form in which singers and musicians perform
a dramatic work combining text (called libretto) and a musical score, usually in an
elaborate theatrical setting. It incorporates many of the elements of spoken theater, such as
acting, scenery, costumes, and sometimes includes dance. The performance is typically
given in an opera house, cultural center, theater, or auditorium. It is accompanied by an
orchestra or smaller musical ensemble. The dialogue is entirely sung and not spoken.
Opera is part of the Western classical music form and tradition. It started in Italy at the
end of the16th century and soon spread through there is to Europe. While English, French, and
Italian operas were being presented, it was the Italian opera that captured the creative imagination
of composers, librettists, and singers alike.
Zorilla Theatre

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Manila Grand Opera House
As the locals were being exposed to Western art and music, they were also realizing their inner
talents and passion for the opera. The themes were ripe for voicing their own sentiments about
love of country and longing for independence from colonial rule.
The element of tragedy, emanating from the popular themes of romance, deceit, murder,
vendetta, and other elements of human frailty, became a favorite story pattern of the
Filipino opera. Some operatic works were based on previous literary creations, such
as Rizal’s Noli Me Tangere and El Filibusterismo. The tragic endings and unresolved
conflicts made them excellent choices for an operatic production.
Local Theaters and Early Philippine Operas
Local theaters, including the Zorilla, Principe Alfonso, Variedades, Quiapo and
Tondo Theaters, were the choice venues for the mainly Italian operas that came to the
country, such as Lucia di Lammermoor, La Boheme, La Traviata, and Aida. Later,
other opera venues were established, led by the Manila Grand Opera House and the
Metropolitan Theater (Met).
The first Filipino opera is said to be to Sandugong Panaginip by Pedro Paterno, a poet,
novelist, musician, and government official. This was first presented at the Zorilla Theater on
August 2, 1902. It was later translated by the Englishman M.W. Loving with the title
The Dreamed Alliance.

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Following this historic development, other prominent figures and ensembles

contributed significantly in the promotion of opera. They were composer Bonifacio
Abdon as the first Filipino opera conductor, Dr. Ramon Javier as the first Filipino
opera impresario who promoted local talents to participate in foreign productions.
The Orchestra Molina was known for their interpretation of operatic works as well as
other classical compositions.
Metropolitan Theater (Met)
NOLI ME TANGERE and EL FILIBUSTERISMO
Operas based on Rizal’s two novels Noli Me Tangere and El Filibusterismo were composed
by National Artist Felipe Padilla de Leon. These were presented at the CCP Main
Theater in 1970 and 1975, respectively. Noli Me Tangere and El Filibusterismo were
later restaged also at CCP as musical plays with new music composed by Ryan
Cayabyab and new creative team.

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Background of the Opera
The story of La Loba Negra takes place during the 17th century of Spanish rule in the
Philippines. It revolves around the tragic assassination of Spanish Governor-General
Bustamante. His administration was greatly admired for his planned reforms in the
colonial administration. It also focused on the bitter reaction and planned vendetta
(revenge) by his wife Doña Luisa (La Loba Negra) on the religious perpetrators. As
massive corruption and friar abuse were prevalent, the entry of Governor-General
Bustamante to institute reforms did not sit well with the powerfully abusive priests,
which led to his untimely death.
Synopsis
The opera begins with a Prologue depicting the scene of a woman dancing around a
priest tied to a log. She scolds him in a haunting atmosphere of pitch darkness and a
howling wolf from the distance. The scene shifts to the Governor’s Palace Ballroom
where a welcome party in honor of the new Governor-General Bustamante is in progress.
Upon the arrival of the Governor, lavish gifts are offered to him by the various guests. To
their surprise and dis may,the Governor down plays their ostentatious revelry and gift-giving
as a sign of potential corruption in his song Makinig Kayo.The entry of Fray (friar/priest)
Totanes and his regal posturing further elicits sarcastic remarks from the Governor. As he
and his wife Doña Luisa exits the scene, an indio (Spanish term used fora Filipino native)
servant named Macatangay enters with a message to the Governor from his employer,
Auditor General Torralba.Fray Totanes takes advantage of the Governor’s exit by asserting
the power of the church over the state in his song Siya Ba ang Magsasabi Sa Akin?
prompting the Governor’s daughter Dolores to chide him for his unbecoming remarks in her
father’s house. Fray Totanes apologizes without a trace of sincerity as Dolores exits followed
by an “interested”young friar. Meanwhile, Fray Totanes intercepts the gifts meant for the
Governor . He got the gifts to add to the Church’s treasury. He blesses the guests as he
reassures them of a place in heaven.
In the Palace’s family room, Doña Luisa is singing an aria Huizilipochtli about an Aztec
god which her daughter Dolores was curiously questioning about its meaning. Their
conversation is interrupted by the Governor who was on his way out to investigate the
Auditor General’s office on the state of the Treasury. Dolores, suspecting the impending
result of the investigation amid the pocketing by the friars, weeps bitterly as her mother
tries to comfort her. At the Auditor General’s office, Fray Totanes witnesses Torralba
collecting taxes from the various merchants in order to get their trade permits. He then
shares the “loot” with Fray Totanes who in turn gives part of his share to his mistress
Conchita. The Governor enters shortly, and after a brief confrontation with Torralba,
discovers that the Treasury coffers are empty.

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He orders the latter’s immediate imprisonment in Fort Santiago, a most dreaded place for
criminals and political prisoners at that time. The scene ends with a duet Anong Saklap
Nitong Pangyayari by the two, with Torralba in remorse and shame and Bustamante in
pity and disgust over the situation. The chorus sings Sa Haring Pari, O Sa Paring Hari in
the distance. The continuing crackdown of Governor Bustamante on the religious
officials did not spare even the Archbishop of Manila as they were all detained in Fort
Santiago. A religiously-led demonstration ensues in the Town Plaza but is quickly dispelled
by the Governor’s soldiers. The priests are exhorted by Fray (friar/priest) Totanes to
come out in full-force to plot the assassination of their most hated enemy. A mass is
held without the usual service as the altar is covered black to symbolize a coffin,
topped by the Spanish flag and a crucifix.
As they march toward the Governor’s palace, singing Muerte, Muerte Para El Traidor
Bustamante,a messenger forewarns the Governor of the plot. But to no avail, the assassins are
able to reach the palace and kill the Governor along with his son Jose. Doña Luisa,
witnessing this brutal killing, asks the Lord and the Virgin Mary to forgive the perpetrators.
However, her mind snaps at the shock of the moment, wherein she instead invokes the Aztec
god to assist her in avenging the murders of her loved ones. With a loud scream
filled with pain and anguish, she has renounced her Christian faith.
DoñaLuisa,nowdisguisedasLaLobaNegra(TheBlackShe-Wolf),commencesher
revenge during the elaborate ceremonies of Palm Sunday. And together with her sexually-
abused daughter, methodically slays the friars she encounters. She killed over 200 priests in a
span of two years. Her infamous reputation has spread as the religious clergy cower in fear.
Macatangay, who has also become a rebel leader for a different cause of achieving
independence, joins forces with La Loba Negra. They continued in their ritual religious
murders, singing the songs O Poong Maykapal, Kayong Mga Namumuno, and Hindi Na
Malayo Ang Araw.
The scene is transported back to the Prologue with Doña Luisa castigating the friar
responsible for the seduction and rape of her daughter. Added to her earlier murders of
the friars for the deaths of her husband and son, Doña Luisa’s vengeful emotions have
now been purged out. When her daughter is wed to Sandugo, she has become one
with the indios of her adopted country. Before she dies, Doña Luisa was heard
singing Napakahaba ng Gabi. She speaks of a bright tomorrow after the long night as
the chorus sings Sulong, Mahal Kong Kababayan.
The music and libretto have closely collaborated to portray the dramatic moods in the opera.
The dramatic moods are particularly depicted in the murder scenes that are effectively
contrasted with the solemn sounds and religious fervor of the liturgical rites. The somewhat
debatable moral issue of vengeance may perhaps be explained by the temporary insanity of
Doña Luisa. It was caused by the brutal killings of her husband and son, wherein the Aztec
god is portrayed as a scapegoat for the Christian purge. As librettist
Asensio concluded: “The night is long but the sun will rise… and rise again in the East.”

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NOLI ME TANGERE, THE OPERA
The three-act opera Noli Me Tangere was composed by National Artist Felipe Padilla
de Leon, with libretto by National Artist Guillermo Tolentino. It premiered in 1957 at
the FEU Auditorium. The cast included Juanita Javier Torres as Maria Clara, Don
David as Ibarra, Fides Cuyugan Asensio as Sisa, Milo Cristobal as Padre
(Father/priest) Damaso, and Morli Daram as the director.
There were other several productions that followed the premiere production. The
performance in 1987 was held at the CCP Main Theater from September 18 to 20, 1987
in cooperation with Music Theatre Foundation of the Philippines. Oscar C. Yatco
conducted the Philippine Philharmonic Orchestra. The opera was directed by Jonas
Sebastian. The production staff also included National Artist Salvador Bernal for Set and
Costume Design, Dennis Marasigan for Lighting, and Sylvia Garcia-Nera for Overall
Production. The cast of major characters included Nolyn Cabahug and Sal Myneo (Sal)
Malaki alternating as Ibarra, Andion Fernandez/Nanette Moscardon-Maigue as Maria
Clara, Fides Cuyugan-Asensio/Luz Morete as Sisa, Elmo Makil/Nomer Son as Elias, and
Nomer Son/Jonathan Velasco as Padre Damaso. Jonas Sebastian as the director.
The novel of national hero Dr. Jose Rizal, Noli Me Tangere, has been a source of
many artistic productions and endeavors. From a silent film adaptation in 1915, it was
the subject of a movie in 1961 directed by Gerardo de Leon. It won the 10th FAMAS
Award for Best Film. It was first presented as an opera by National Artist for Music
Felipe Padilla de Leon in 1957 and in 1987. It was later adapted in 1992 by National
Artist for Film Eddie Romero in a 13-episode series for television. The novel also
became the subject of musical plays and revivals. The opera had its US production
premiered as Noli Me Tangere: The Opera at Harris Theater in Chicago on May 28,
2012. It was also staged at The Kaye Playhouse, Hunter College, New York City,
USA last October 2013, and at the Resorts World in Manila in September 2014.

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The Novel Behind the Opera
The title of Rizal’s novel Noli Me Tangere (Touch Me Not) was said to have originated
from the Latin version of the words, originating from John 20:17. It was spoken by Jesus
to Mary Magdalene who recognized Him after His Resurrection, reasoning to her “for I
am not yet ascended to the Father.” The novel was written to expose the ills of the
Spanish Catholic friars and the ruling government. It was finished in 1886.
Rizal initially found it difficult to solicit moral and financial support from his friends, until
Maximo Viola helped him with the printing. The printing of Noli was done in Berlin,
Germany. The English version was later released to Australian Book Stores. After which,
Penguin Books took on the tasks of publishing the novel to have its own translated
version. The book was banned in the Philippines by the Spanish authorities for its
supposedly subversive elements. This led to Rizal’s exile, imprisonment, and execution.
Synopsis of the Opera

Act I
A scene from Noli Me Tangere,
the opera (Ibarra and Maria Clara)
The spacious sala of Santiago de los Santos, otherwise known as Kapitan Tiago, in San
Diego, is the setting for the welcome reception. It was a gathering honoring the 22-year
old student Crisostomo Ibarra after a seven-year stay in Europe. The Gobernadorcillo
and his wife Doña Victorina lead the guest list that includes Padre Damaso, vocal in
his criticism of the Filipino whom he referred to as “indio” while also blaming the
Gobernadorcillo for interfering in their local affairs. He continues this harsh attitude
upon the arrival of Ibarra when he ignores the latter as he tries to greet the friar.

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Ibarra is also shaken and shocked by the news of the death of his father, where he confides to
Don Filipo his puzzlement surrounding his father’s death. Before Ibarra left for San
Diego, Lt. Guevara, a civil guard, revealed to him the circumstances that led to his
father’s death. Don Rafael Ibarra, a rich hacendero of the town, was unjustly accused by
Padre Damaso of being a heretic and a subversive and subsequently jailed. As the
case was almost being resolved, Don Rafael fell sick and died in his cell. His remains,
initially interred at the Catholic cemetery, were ordered transferred by Padre Damaso
to another location.
Ibarra, although lamenting the fateful circumstances, does not hold revenge on his mind.
Instead, he starts to reveal plans to build a schoolhouse in memory of his father. He is
only partly comforted by the announcement of the immenent arrival of his beloved Maria
Clara, the adopted daughter of Kapitan Tiago. She was accompanied by her aunt, Tia
Isabel. Ibarra rushes to greet them on their arrival. As the guests move into the dining
room, the two lovers are huddled together reminiscing their past moments spent together.
Ibarra, still thinking his father’s death, begs to be excused in order to pay respects at
his father’s grave while Maria Clara fears disaster.
Act II
Scene I
All roads lead to the cemetery

as the people of San Diego
observe All Saints’ Day.
Pilosopo Tasio meets Crispin
and Basilio going to the
church to ring the bells. The
ringing of the bells will warn
the people of a coming storm.
He cautions the two brothers
to stay away from the bells to
avoid being struck by
lightning.
Ibarra arrives at the cemetery

to look for his father’s grave.
He is angered when one of the A scene from Noli Me Tangere, the opera
gravediggers informs him that he was
ordered to transfer his father’s body to another site. When he inquires about the
location of the new site, the man confides that he disobeyed the orders. And instead,
he threw the body into the lake. This causes Ibarra to jump at him in a fury and leave
the cemetery in a rage,

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As evening approaches amidst flashes of lightning and sounds of thunder, the

Gobernadorcillo and Pilosopo Tasio are engaged in sarcastic conversation. The scene
shifts to Crispin who is suddenly accused of theft and is detained at the convent. His
brother Basilio runs to their mother Sisa but is shot in the leg. Sisa, confronted by the
guardia civil, arrives and protests her son’s innocence as she breaks down in shock.
Meanwhile, the bereaved Ibarra seeks counseling from Pilosopo Tasio who advises the
youth to “bend your head with the storm” like a bamboo. Heeding the advice of the wise
man, Ibarra realizes though that the authorities he intends to yield to were the same
people that imprisoned and caused his father’s death.
Scene II
The young people of San Diego hold a picnic by the lake to celebrate Ibarra’s return from
Europe. Maria Clara is prevailed upon to sing, wherein she renders the famous number
Kay Tamis ng Buhay recalling the happy life in her native land. Meanwhile, a group of
fishermen arrive to lament the presence of a crocodile that prevented them from catching
any fish. Elias, a woodsman, volunteered to drive the crocodile away but is greatly
endangered. Ibarra rushes to his rescue and saves Elias. In his gratitude, Elias warns
Ibarra of the approaching dangers from the latter’s enemies. As Sisa passes by, she is still
lonely over her lost children. Elias assists the insane woman to find the two children.
While Ibarra continues to tell of his dream to build a school in his father’s memory, Padre
Damaso joins in the conversation and ridicules the plan as a “scheme of the viper.” To
which, an enraged Ibarra grabs a knife and attempts to stab him. Only the timely
intercession of Maria Clara pacifies the young man. However, this gives Padre
Damaso an excellent opportunity to have him excommunicated.
Act III
Scene I
As Ibarra has been exiled from San Diego, Maria Clara is left depressed while her Tia
Isabel and friends try to comfort her. Kapitan Tiago enters the bedroom to tell the sad
news that inspite of his appeal Padre Damaso has told him to cancel the wedding
arrangements between Maria Clara and Ibarra. Actually, Kapitan Tiago had in mind
his relative Alfonso Linares to marry Maria Clara instead of Ibarra. Doña Victorina
then enters the room and together with Padre Damaso starts planning for the meeting
between Maria Clara and Linares.
Meanwhile, Ibarra has sought the help of the Gobernadorcillo who manages to cancel
his excommunication from the church. He is able to return and visit Maria Clara to
propose marriage. The couple’s rejoicing at the house of Kapitan Tiago is interrupted by

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the arrival of the Alferez who

arrests Ibarra for being
involved in an uprising. Again
driven to depression, Maria
Clara seeks the help of the
Heavenly Mother. A fire is
seen from the closed window.
Scene II
Worried over the fate of Ibarra, Maria Clara ignores Padre Damaso’s advice discouraging
her from entering the convent. As she prays to the Heavenly Mother to restore her lost
love, Elias appears at the window, taking along Ibarra who has just escaped from prison.
Ibarra is desperate at the rumor of Maria Clara’s impending marriage to Linares. She
explains that she was forced to accept the marriage agreement to save her mother’s
Honor after finding out that here al father was in fact Padre Damaso! Nevertheless, she assures Ibarra
that her heart will always belong to him. Meanwhile, as Ibarra and Elias sneak out of the window, two
gunshots are heard from the guardia civil (civil guard). Maria Clara witnessed the tragic scene. She
thinks that Ibarra had been shot and killed. But, it was Elias who was shot while Ibarra had managed to
escape.
Scene III
Sisa is seen wailing her haunting

refrain as she rests on a tombstone.
Basilio, still nursing the wounds on
his leg, arrives and greets his
mother. Unable to recognize him at
first, Sisa eventually recovers her
fragile memory and embraces her
son. However, the shock of the
moment is too much for her heart
and she expires. Meanwhile, a
seriously wounded Elias appears
and instructs Basilio to build a pyre
(funeral fire) for his mother and him as he gives him a stash of hidden gold to fund
his education. As the boy started to gather materials for the funeral pyre and the early
light of dawn appears, Elias gasps out his last breath of life.

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EL FILIBUSTERISMO, THE OPERA
The opera El Filibusterismo was composed by National Artist Felipe Padilla De Leon in
1970, with libretto by Anthony Morli. It was in three acts and written in Tagalog. The
casts included Fides Cuyugan Asensio as Paulita, Constancio Bernardo as Simoun, Irma
Potenciano as Juli. It was stageds at the Cultural Center of the Philippines.
The Novel Behind the Opera
El Filibusterismo (The Filibuster) was a novel by Dr. Jose Rizal, a sequel to the earlier
Noli Me Tangere. It tells of the continuing struggle of the Filipino people to achieve
freedom and emancipation from colonial rule. Through the major characters involved, it
reflects the prevailing state of Philippine government and society that has become corrupt
and immoral. For which, a revolution was being seen as the only solution for change. It
was also perceived as a warning from Rizal, an intellectual of the highest order. Although
he favored a peaceful way of instituting reforms, the seemingly hopeless situation to
achieve this method points closer and closer to armed rebellion in order to gain
independence.
A scene from El Filibusterismo, The Opera
Rizal considered this second novel as more profound and mature than Noli Me Tangere,
revealing his less hopeful outlook on the political and social situation in the country. Written
for the Filipinos and not for the Spaniards, it was first distributed to his friends in Europe.
However, the book was immediately seized when it arrived in the Philippines. It was later
used as a major evidence in the subversion charges against him. Even after his death, it
became a source of inspiration for revolutionaries that included Andres Bonifacio.

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Synopsis of the Opera
The major character is Crisostomo Ibarra. He had escaped from prison for subversion
charges some 13 years before. He was thought to have drowned in the river. He arrives
aboard a steamship along with passengers from different walks of life. He disguised
himself as Simoun in search of his beloved Maria Clara.
Maria Clara had become a nun after learning of Ibarra’s supposed drowning and because
of her refusal to marry another man as arranged by her evil father. In an earlier letter to
Maria Clara, Simoun tells her of his plan to lead a revolution. He had been sentenced for
execution before he had managed to escape. Now, upon his return, he is bent on fulfilling
this plan by asking the support of key people.
Simoun also comes across a medical student named Basilio while the latter was visiting ñ
the grave of his mother Sisa. Basilio recognized the disguised Simoun as Ibarra. Basilio
however refuses to join his revolutionary cause. He preferred instead to marry his love
Huli and lead a peaceful life devoted to healing the sick.
On the eve of the supposed revolt organized by Simoun, when a French vaudeville Les
Cloches de Come ville was being attended by Manila’s high society,he hears the news
that Maria Clara has just died in the convent. He contemplated to commit suicide.
However, Maria Clara’s ghost appears and asks him to stay alive to atone for his destructive
spirit. His first revolutionary attempt has failed. In the meantime, his bitterness has
jeopardized the love relationship between Juanito Pelaez and Paulita Gomez.
Paulita was an orphaned heiress cared for by her aunt Doña Victorina, and Isagani. She was
raised by the secular priest Padre Florentino. It also influences Basilio to join Simoun’s cause
after his engagement. Huli has died in despair over Basilio’s imprisonment. Actually,
this was a betrayal by Simoun by pointing to him and other students for allegedly
masterminding a revolution that he himself planned.
Still ignoring the warning voice of Maria Clara, Simoun hatches a second plan to be
carried out during the wedding of Paulita Gomez to Juanito Pelaez. His plan is to bring
a crystal lamp as a wedding gift but which contains deadly explosives that would go off
once the lamp’s oil runs out and is relit. This plan Simoun tells Basilio as they are dining
in his mansion.
However, Basilio has a sudden change of heart and quickly warns Isagani, who is just
arriving at the scene to watch the wedding festivities. The shocked Isagani runs away
with the lamp and throws it into the river. As Manila is scandalized by the discovery
of his plan, Simoun escapes the arrest of the authorities and takes refuge in the house
of Padre Florentino near the sea. He again tries to commit suicide by taking poison.

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As Simoun lay dying, Padre Florentino scolds

him for his plot while assuring him of God’s
mercy. He also divests Simoun of his
precious stones and hurls them into the
waters. He called these evil stones which
should remain forever under the sea. From a
distance, Isagani contemplates his desolation
at a lost love amidst the vastness of the sea
while witnessing a passing procession for
the Feast of San Diego.
SUMMARY
La Loba Negra (The Black She-Wolf) is a three-act Filipino opera. Acts I and II are
based on history. Act III is based on a legend attributed to Fr. Jose Burgos, one of the
three martyred priests Gomez, Burgos, and Zamora who were executed in Bagumbayan
(now Luneta) in 1872. The music was composed by National Artist Francisco Feliciano,
with libretto by soprano Fides Cuyugan Asensio. The premiere was held in 1984 with
National Artist for Theater and Film Lamberto Avellana as director.
The three-act opera Noli Me Tangere was composed by National Artist Felipe Padilla
de Leon, with libretto by National Artist Guillermo Tolentino. It premiered in 1957 at
the FEU Auditorium. The cast included Juanita Javier Torres as Maria Clara, Don
David as Ibarra, Fides Cuyugan Asensio as Sisa, Milo Cristobal as Padre Damaso,
and Morli Daram as the director. There were several other productions that followed
the premiere production.
El Filibusterismo is a novel by Dr. Jose Rizal, a sequel to the earlier Noli Me

Tangere. It was written four years later. It tells of the continuing struggle of the
Filipinos to achieve freedom and emancipation from Spanish colonial rule. The opera
El Filibusterismo was composed by National Artist Felipe Padilla de Leon in 1970,
with libretto by Anthony Morli. It was in three acts and written in Tagalog.

133
BALLET
IN THE PHILIPPINES
T he medium of dance and ballet to interpret novels, folktales, and stories provides
visual excitement as the characters come alive not in spoken dialogue but in body
movements. Much of the communication is relayed in pantomime. It is a performance in
which a story is told without words by using body movements and facial expressions.
The lack of spoken words or sung lyrics is more than made up for by the creative steps
and arm gestures of the dancers. Their facial expressions and body movements add more
meaning to the story being revealed. The performance is further enhanced by colorful
costumes, elaborate sets, visually suggestive music, and synchronized choreography.
Together, the dance or ballet production makes for a complete drama by itself without a
single word being spoken.
Filipino ballets vividly present folktales based on local fables for example, Lola Basyang
as well as epics from neighboring regions, such as India’s Ramayana. Highly
communicative movements and steps dramatize the actions in the respective stories. The
colorful sets and costumes add to the glitter and attraction of the productions.
Although not as extensively explored as the other performing genres for local adaptation,
Filipino ballet productions have evoked wide enthusiasm from people of all ages. They have
been added to the repertory of Philippine dance companies to supplement the Western
classical ballets, such as Nutcracker Suite, Swan Lake, Giselle, and Sleeping Beauty.
Nutcracker Suite
Philippine prima ballerina

Lisa Macuja with her daughter
in Nutcracker Suite

134
TATLONG KUWENTO NI LOLA BASYANG
Lola Basyang is a ballet adaptation of Severino Reyes’ folk tales Mga Kuwento ni Lola
Basyang. It was meant to instill and rekindle the interest of the Filipino youth in the
beauty, richness, and heritage of Philippine literature. The typical storytelling scene
shows the grandmother (Lola Basyang, the pen name of the author) on a rocking chair
with her grandchildren listening to her fascinating tales.
Two episodes of such stories were presented by Ballet Manila, with Lisa Macuja-Elizalde
as the company’s Executive Director and prima ballerina. Entitled Tatlong Kuwento ni
Lola Basyang (2009) and Tatlo Pang Kuwento ni Lola Basyang (2013), the stories were
taken from the dozens of stories in the collection of Severino Reyes.
Tatlong Kuwento ni Lola Basyang featured the following stories:
1. Ang Kapatid ng Tatlong Marya

This is a fantasy story set to neo-ethnic music in a contemporary style. It is about a
hero’s fantastic journey to different kingdoms in pursuit of his bewitched sisters.
The music is by Joey Ayala, with choreography by Lisa Macuja-Elizalde.
2. Ang Mahiwagang Biyulin

This is a local version of the Pied Piper tale where the main character mesmerizes
his followers through the music of his violin. The story instills in them the
moral lesson that “good triumphs over evil.” The music is by Ryan Cayabyab,
arranged by Arnold Buena, and choreography is by Tony Fabella.

135
3. Ang Prinsipe ng Mga Ibon

This is a love story where a princess falls in love with a bird. It was choreographed
by Ballet Manila danseur (a male ballet dancer) Osias Barroso. The music is taken
from selected musical works of National Artists arranged by Mon Faustino.
The second episode, Tatlo Pang Kuwento ni Lola Basyang, included the following stories:
1. Ang Palasyo ng Mga Dwende

This is a romantic adventure wherein the heroine Yani is being maltreated by
her envious stepmother and stepsisters. The cursed bird is changed back into a
prince with the help of Yani. It depicts Mindanao and the ancient Pintados
through its neo-ethnic movements.
The music and musical arrangements were done by Diwa de Leon using a hegalong,
a native boat-like string musical instrument from Mindanao. Illustration was done by
Albert Gamos. The choreographer was Gerardo Francisco who collaborated with
Kris-belle Mamangun, Naomi Jaena, and Romeo Peralta.
2. Labindalawang Masasayang Prinsesa
This is a romantic fantasy of the twelve daughters of the king. In the ballet,
the eldest daughter is acted out by Lisa Macuja Elizalde’s daughter Missy. The twelve
daughters secretly leave their bedroom at night to travel to an enchanted land
and dance with the princes.
Choreography was done by Lisa Macuja-Elizalde, in collaboration with

Francis Jaena, Sofia Peralta, Rudy de Dios and the Ballet Manila dancers. It
featured fairly simple classical ballet steps with the traditional adagios or slow
movements for the prince and princess. It also featured the comic variations
for the scenes with the king. The colors of the costumes depicted Filipino
elements in fiesta combinations. The music used OPM hits such as Kailangan
Kita and Ikaw ang Lahat Sa Akin arranged by Arnold Buena.
3. Anting-Anting
This is a horror-comedy wherein the cowardly hero Huan tries to overcome
his fears in order to win his love. The slapstick comedy is enhanced by
exaggerated movements as Huan is later haunted by ghosts that add to his
fears for which he looks for an anting-anting (lucky charm) to ward them off.
Musical arrangements were done by Juan Carlo Magsalin, with choreography by

Osias Barroso in collaboration with Michael Divinagracia. Illustration was
done by Hubert Fucio. Costumes featured farmers’ clothing for men and
kimona/saya for women.

136
These productions of Ballet Manila featuring the six stories in two episodes add
visual excitement and colorful sets and costumes to the interesting fables and tales of
Lola Basyang. With various choreographers, music composers, music arrangers, and
illustrators, the stories were transformed into a wonderland fantasy where the
characters come alive. It is not surprising that the productions have attracted a wide
audience, especially among the young. The appeal of the ballet production came not
only from the tales or stories but also from the dance and music as well.
Lola Basyang Stories in Other Media
Other stories of Lola Basyang which were presented in ballet were also performed in
other media forms, such as movies and television series.
Movies (Sampaguita Pictures):

1. Si Pedrong Walang Takot (Fearless Peter), starring Dolphy as the brave hero
who scares away a giant by means of an enchanted bell.
2. Ang Mahiwagang Kuba (The Enchanted Hunchback), tale of a princess who
marries a hunchback.
3. Ang Dakilang Puso ng Isang Ina (The Noble Heart of a Mother), a family drama.
4. Ang Prinsesa ng Naging Pulubi (The PrincessWhoBecameaBeggar),ataleof an overly

selective princess in her suitors who later finds true love with a beggar.
Television Series:
1. Ang Prinsesang Unggoy (The Monkey Princess)
2. Ang Walong Bulag (The Eight Blind Men)
3. Maria Alimango (Maria the Crab)
4. Ang Gwapong Sastre (The Handsome Tailor)
5. Ang Mahiwagang Balabal (The Enchanted Cape)
6. Ang Dragon sa Ilog Lingwa (The Dragon at Lake Lingwa)
7. Ang Kastilyong Bakal (The Iron Palace)
8. Prinsesang Kalbo (The Bald Princess)
9. Ang Pitong Hilo (Seven Idiots)
Also included here are a number of stories featured in the movies and Ballet
Productions mentioned above.
1. Ang Alamat ng Manok (Legend of the Chicken), originally Ang Parusa ng
Higante or The Giant’s Curse
2. Ang Sultan Saif (The Sultan Saif)
3. Parusa ng Dwende (The Dwarf’s Curse)
4. Rosa Mistica (Mystical Rose)
5. Ang Binibining Tumalo Sa Hari (The Maiden Who Defeated the King)
6. Ang Prinsipeng Duwag (The Cowardly Prince)
7. Pandakotyong (Pandakotyong)
8. Ang Prinsipeng Mahaba ang Ilong (The Prince With a Long Nose)

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RAMA HARI
Rama Hari, translated as King Rama, is the Philippine adaptation of the Indian epic
Ramayana set to music, dance, and drama. Originally presented on February 8 to 17, 1980,
the creative team consisted of Ryan Cayabyab (Music), National Artist Alice Reyes
(Choreography), National Artist Bienvenido Lumbera (Literature), and National Artist
Salvador Bernal (Theater Design), with the CCP Philharmonic Orchestra conducted by
Cayabyab. The major roles were performed by Basil Valdez (Rama), Kuh Ledesma (Sita),
and Leo Valdez (Ravana). The dancers were Nonoy Froilan as the counterpart of Rama, Effie
Nanas/Ester Rimpos as Sita, and Robert Medina as Ravana. The production had the dancers
moving alongside the characters to provide the choreographic interpretation of their singing
and acting. It also featured the song Magbalik Ka Na Mahal sung by Kuh Ledesma, which
was said to be instrumental in launching her music career.
The Indian Epic Behind the Musical Production
The Ramayana is one of the two great Indian epics that tell about Indian life around 1000
BC and how dharma was practiced. Later, it became a model of behavior for the whole
Hindu population. Dharma is a type of behavior said to be in accordance with the order
that makes life and the universe possible. According to its meaning, it explains the
expectations in fulfilling duties, respecting rights, observing proper conduct, practicing
virtues, and maintaining a rightful way of living. The epic Ramayana consists of 18
books containing approximately 24,000 verses divided into 500 songs.

138
The story revolves around Prince Rama, the eldest son of Dasaratha, King of Ayodha,
who had three wives and four sons – Rama, Bharata, and the twins Lakshmana and
Satrughna. Rama, considered the incarnation of the Hindu god Vishnu. He was in line to
the throne after his father decided to retire. But, the intercession from his stepmother
prevented this succession. She relied on the king’s promise to her that he would grant
any two wishes she desired. She opted to have Rama banished to the forest for 14 years.
She wanted to have her own son and Rama’s younger stepbrother, Bharata, to ascend
the throne despite the king’s pleadings.
Without hesitation and in keeping with the dharma, Rama heeded his stepmother’s wish and
moved to the woods of Panchavati. He was accompanied by his wife Sita and younger
brother Lakshmana. Both of whom insisted on going with him. When Bharata learned about
what happened to Rama, he lamented what his mother had done. He sought Rama
in the forest and pleaded with him to return and take his rightful position as king.
Rama refused however, citing his father’s command and her stepmother’s wish.
However, Bharata requested instead to bring Rama’s sandals. This would be placed on
the king’s throne as a symbol of his authority until he returns after 14 years. As the three
spent happy years in the forest, they come across Ravana. He was the ten-headed ruler of
Lanka and one of the forest’s evil creatures. He abducts Sita and forces her to marry
him. After some mighty battles, Rama is able to kill Ravana and rescue Sita.
However, in keeping again with the dharma and to set a good example, Rama demanded
that she prove her purity first before he could take her back as his wife. To which, Sita
did. They eventually return to Ayodha and Rama becomes king. As with Rama, Sita, and
Bharata, they also set good examples following the dharma. This epic teaches the Indians
to perform their dharma. It t has become a national symbol of divine virtues upon which
their great leaders including Mahatma Gandhi found their inspiration.

139
A revival production of Rama Hari was presented at the Cultural Center of the
Philippines from November 30 to December 9, 2012 based on the 1980 version of the
same production. This time, the pop ballet musical featured singers Christian Bautista
alternating with OJ Mariano as Rama, Karylle Tatlonghari/Kalila Aguilos as Sita, and
Robert Sena as Ravana. The character dances were done by Jean Marc
Cordero/Richardson Yadao for Rama, and Carissa Adea/Katherine Trofeo for Sita.
Conducting the Manila Symphony Orchestra was Jeffrey Solares.
The production made use of jeweled costumes with richly embellished ornaments as
headdresses and bangles against a set backdrop that was basically minimalist. The
predominantly red colored-based costumes of the principal characters were enhanced
by the contrasting white flowing attires of the dancers. A related production entitled
Rama at Sita was presented at the University of the Philippines with Ariel Rivera
portraying the role of Rama and Lani Misalucha interpreting Sita. Directing the play
was Floy Quintos, with choreography by Agnes Locsin.
SUMMARY
The Filipino ballets vividly present folktales based on local fables (example,LolaBasyang) and epics from
neighboring regions (example, India’s Ramayana). Highly communicative
movements and steps dramatize the actions in the respective stories. The colorful sets
and costumes add to the luster and attraction of the productions. Although not as
extensively explored as the other performing genres for local adaptation, Filipino
ballets have evoked wide enthusiasm from people of all ages.
Lola Basyang is a ballet adaptation of Severino Reyes’ folktales Mga Kuwento ni Lola
Basyang. It was meant to instill and rekindle the interest of the Filipino youth in the
beauty, richness, and heritage of Philippine literature.
Rama Hari, translated as King Rama, is the Philippine adaptation of the Indian epic
Ramayana set to music, dance, and drama.

140
MUSICAL PLAYS
T he musical play is a popular and generally lighter form of musical drama than the opera.
The themes are usually more contemporary, and the musical melodies more manageable by
the average singer. The acting is less intense and dramatic. The
choreography and dance sequences provide visual breaks from the ongoing plots.
Musical plays have been associated with the Broadway plays of New York City and West
End Productions in London, including My Fair Lady, South Pacific, Camelot, West Side
Story, Les Miserables, Phantom of the Opera, Lion King, Beauty and the Beast, Wicked,
Mama Mia, Cats, and Miss Saigon.
Broadway Musicals
The first major Broadway musical was Showboat, which featured the popular mode of
transport in the American frontier. Since then, musicals have presented other themes:
Siamese royalty in The King and I, English aristocracy in My Fair Lady, Austrian history
in The Sound of Music, medieval English tragedy in Camelot, and interracial gang rivalry and
romance in West Side Story. Many Broad way musicals were also made in to films.
Scenes from Westside Story
Scene from The Sound of Music

141
Broadway musicals are family entertainment with themes and texts which are generally
light and easy to understand. These may include the problems of everyday life, such as
love and romance, social acceptance, jealousy and intrigue, and adventure. The singing is
usually amplified, unlike the operatic quality of classically trained voices.
Thus, many songs from Broadway musicals have become popular hits and some have
achieved semi-classical status because of their sustained popularity. Among these are
Climb Every Mountain from Sound of Music, I Could Have Danced All Night from My
Fair Lady, If I Loved You from Carousel, If Ever I Would Leave You from Camelot,
Some Enchanted Evening from South Pacific, and Sun Moon from Miss Saigon.
These are also widely used for local and school productions because of their
popularity, appeal, and generally less demanding style of singing and acting.
A number of other musicals were adaptations of classical operas. Among these were
Miss Saigon based on Puccini’s Madame Butterfly and Aida from Verdi’s opera with the
same title. While with the advent of technology, modern productions like The Phantom of
the Opera, Les Misérables, Beauty and the Beast, and Lion King have enthralled
audiences with amazing set designs, elaborate costumes, and computer-generated visual
and sound effects.
Lea Salonga on Broadway
Lea Salonga in Miss Saigon
One Filipino artist who attained international status on both London’s West End and
Broadway is Lea Salonga. She is best known for her portrayal of Kim in the musical
Miss Saigon, a role for which she won the prestigious Tony Award for theater in the
USA and the Laurence Olivier Award in London. She also garnered the Drama Desk
and Outer Critics Circle Awards for the same role in the USA. Salonga is the first
Filipina to have won various international awards for a single role.

142
Miss Saigon is a musical by Claude-Michel Schönberg and Alain Boublil, with lyrics
by Richard Maltby, Jr. It is a modern adaptation of Giacomo Puccini’s opera Madame
Butterfly, which also tells the tragic tale of a doomed romance wherein an Asian woman
is abandoned by her Caucasian lover. The setting of the plot is relocated to the 1970s’
Saigon during the Vietnam War, with Madame Butterfly’s love story between an
American Lieutenant and a Japanese geisha modified into a romance between an
American soldier and a Vietnamese bar girl.
Miss Saigon first opened at West End in London in 1989 and closed in 1994. The London
production became one of the Theatre Royal’s (Drury Lane) longest running musicals.
Thereafter, it was successfully produced in many cities around the world. The USA
production opened at the Broadway Theatre in New York on April 11, 1991 and
closed on January 28, 2001 after 4,092 performances. It was again re-staged in
London in 2014 with a diffrent cast.
LeaSalongain
Les Miserables
And as Mei-Li in
Flower Drum Song
Following Miss Saigon, Salonga was the first Asian to play the role of Eponine in the
musical Les Misérables, based on the novel of the same title written in 1862 by the
French author Victor Hugo. She also played the role of Mei-Li in Flower Drum Song.

143
The Phantom of the Opera
The Phantom of the Opera is a broadway

musical by Andrew Lloyd Webber and Richard
Stilgoe, with lyrics by Charles Hart and music
by Lloyd Webber. It is based on the novel The
Phantom of the Opera by Gaston Leroux.
The story focuses on a beautiful singer Christine

Daaé as she is seduced by a mysterious disfigured
musical genius known as The Phantom of the
Opera. The Phantom lives beneath the Paris
Opera House and terrorizes those who work there. He demands that Christine be the star
of the theater’s productions. When the young singer rejects the Phantom’s advances and
her lover Raoul intervenes, the Phantom sets no limits in his pursuit of revenge and of
Christine’s love. However, Christine escapes with Raoul to the roof, where she tells him
about her subterranean rendezvous with the Phantom. Raoul is skeptical but swears to
love and to protect her always, as demonstrated in their song All I Ask of You.
The Phantom of the Opera is one of the longest-running Broadway musicals of all time. At the 1988
Tony Awards, the Broadway production was nominated for 11 awards and
won seven, including the coveted Best Musical award. The musical also won seven
awards at the 1988 Drama Desk Awards.
Les Misérables
Les Misérables, known as “Les Mis,” is a

musical composed in 1980 by French
composer Claude-Michel Schönberg with
libretto by Alain Boublil. It is based on
the novel Les Miserables by Victor Hugo.
It is perhaps the most famous of all
French musicals and one of the most
famous musicals performed worldwide.
Les Mis tells the story of paroled convict Jean Valjean who, failing attempts to find work as
an honest man, breaks his chains and conceals his identity in order to live his life again. Other
characters in the musical include the police inspector Javert, who becomes obsessed
with finding Valjean; Fantine, the single mother of Cosette, who is forced to become a
prostitute to support her daughter; Marius, a French student who falls in love with Valjean’s
adopted daughter, Cosette; Eponine, the young daughter of the Thénardiers who falls
in love with Marius; the Thénardiers, who own an inn; and Enjolras and other
students, who are working toward freeing the oppressed lower class of France.

144
The musical opened in September 1980 at the Palais des Sports in Paris. The first English
production, produced by Mackintosh and directed by Trevor Nunn, opened on October 8,
1985 at the Barbican Arts Centre in London. The Broadway production opened on
March 12, 1987 and was nominated for 12 Tony Awards, winning eight, including
“Best Musical” and “Best Original Score,” and ran until 2003.
On October 8, 2006, the show celebrated its 21st anniversary and became the longest-
running West End musical in history and is still running (though it has changed venues).
Its Tony award-winning score includes the songs I Dreamed a Dream, Do You Hear the
People Sing?, One Day More, Empty Chairs at Empty Tables, Master of the House, and
On My Own.
MUSICAL PLAYS
IN THE PHILIPPINES
In the Philippines, the musical play is a more recent development than Broadway and West
End,relying mostly on adaptations from novels, literary works, or biographical
sketches of famous artists.
ANDRES BONIFACIO, ANG DAKILANG ANAK-PAWIS, THE MUSICAL
The musical play Andres Bonifacio: Ang Dakilang Anak-Pawis is a five-act work
commissioned by Alfonso Puyat in 1979, depicting the life of revolutionary hero
Andres Bonifacio. It was co-produced by the Cultural Center of the Philippines and
the Andres Bonifacio Music Foundation, Inc., and was staged again at the CCP Main
Theater on August 20 and 21, 1994 with Jerry Dadap as composer-conductor and
the late Elmo Makil
as Bonifacio.
In 2014, the UP College

of Music and Andres
Bonifacio Concert Choir
presented their own
version of the musical
play in celebration of the
150th birth anniversary
of Bonifacio.

145
The Hero Behind the Musical
Andres Bonifacio was born on November 30, 1863 in Tondo, Manila to Santiago
Bonifacio and Catalina de Castro. Santiago was a tailor, boatman, and local politician,
while Catalina worked in a cigarette-rolling factory. As the eldest of six children, Andres
was forced to give up his plans for higher education to support his younger siblings due
t o t h e e a r l y d e m i s ecorredor of local raw materials
o f b o t h p a r e n t s . H e w o r k e d a s a b r o k e r /
for J.M. Fleming and Company, a British firm. Later, he worked also as a grocer/bodeguero
for Fressell and Company, a German firm. Bonifacio’s tragic childhood seemed to have
extended to his adulthood. His first wife, Monica, died at a young age of leprosy. His
son by his second wife, Gregoria de Jesus, died as an infant.
In 1892, Bonifacio joined Jose Rizal’s reformist organization La Liga Filipina . As

Bonifacio worked to revive the organization after Rizal’s arrest and deportation, he also
founded a new organization called Katipunan along with his friends Ladislao Diwa and
Teodoro Plata. Its complete name was shortened with the initials KKK that stand for
Kataastaasang Kagalanggalangang Katipunan ng Mga Anak ng Bayan.
The new organization, consisting of people from the lower and middle income groups,
Was formed to mount an armed resistance against the Spanish colonizers It generated wide support from
several provinces that also established their respective regional branches. Bonifacio became the President
or Presidente Supremo of the Katipunan in 1895. He continued to attract thousands of followers into the
movement. Along with this development, he and his friends Emilio Jacinto and Pio Valenzuela put up a
newspaper
called Kalayaan (Freedom).
In the summer of 1896, the Spanish authorities sensing an armed uprising being hatched,
arrested hundreds of people, including Jose Rizal. Rizal was tried and later executed in
Bagumbayan (now Luneta). This incited Bonifacio and his followers to kick off the
revolt. They tore up their community tax certificates or cedulas as a symbol of defiance
against the government. He proclaimed himself President of the Revolutionary
Government and declared independence on August 23, 1896. He issued a manifesto
shortly thereafter for an attack on Manila. This ignited simultaneous revolts in other
places that included San Juan del Monte, Marikina, Montalban, San Mateo, and Cavite.
During the series of clashes where Bonifacio had mixed results of success and failures, a
young upper-class politician from Kawit, Cavite named Emilio Aguinaldo surfaced. Under
his military leadership, much of the revolts’ successes were attributed to him because he
was better educated and came from a wealthy and influential family. Thus, in a rigged
election at the rebels’ Tejeros Convention of 1897, Aguinaldo was elected president of
the Revolutionary Government. The deposed Bonifacio refused to recognize the new
government, causing Aguinaldo to have him arrested. Bonifacio was ultimately tried
for treason and sedition in a sham trial and was sentenced to death. Together with his
brother Procopio, Andres Bonifacio was shot dead on May 10, 1897 at the age of 34.

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ATANG - DULANG MAY MUSIKA
Atang - Dulang May Musika is a musical based on the life of the first superstar of the
Philippines, Atang de la Rama. It starred Ayen Munji-Laurel, Shamaine Centenera
Buencamino, Frances Makil-Ignacio, Kalila Aguilos, Teroy Guzman, Greg de Leon, Mitoy
Sta. Ana, Ricky Ibe, Meynard Peñalosa, Bituin Escalante and the Dulaang UP Ensemble.
Biography of Atang de la Rama
H o n o r a t a d e l a R a m a - H e r n a n d e z
was more popularly known as

Atang de la Rama. She was a
singer, bodabil performer, and the
first Filipina film actress. She was
born in Tondo, Manila on January
11, 1902 and died on July 11, 1991.
By the age of 7, she was already
performing in a number of Spanish
zarzuelas including Mascota,Sueño de un Vals, and Marina. Later, at the age of 15, she became
popular with the song
Nabasag ang Banga in the Filipino zarzuela Dalagang Bukid.
During the American Occupation, Atang almost singlehandedly tried to promote the
kundiman (love song or art song) and the Filipino zarzuela. The themes centered on Filipino
values and lifestyles. Her efforts paid off as the success of original Filipino zarzuelas
such as Dalagang Bukid became quite well known. She produced the plays Anak ni Eva
and Bulaklak ng Kabundukan that earned her the label as “Queen of the Kundiman and
Zarzuela” in 1979.
Her further stints at major theaters in Manila including Teatro Libertad and Teatro
Zorilla became opportunities for her to propagate the kundiman and zarzuela. Other
makeshift venues were the cockpits and open plazas around the country. Her
audiences ranged from the tribal communities of the Igorots, Aetas, and the
Mangyans to the foreign spectators in Hawaii, San Francisco, Los Angeles, New
York, Tokyo, Shanghai, and Hongkong. In 1987, she was proclaimed National Artist
for Theater and Music for her dedication and propagation of original Filipino theater
and music. She was married to National Artist for Literature Amado V. Hernandez.
Atang, The Musical
The musical play Atang, written by Floy Quintos, directed by Alexander Cortes, and with
music by Von de Guzman, was shown at the Guerrero Theater, Palma Hall in UP

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Diliman in 2008 as part of the Zarzuela Festival organized by the UP College of Arts and
Letters. Playing the title role were Ayen Munji-Laurel, Sharmaine Centerera-Buencamino,
Frances Makil-Ignacio, and Anna Migallos, supported by Bituin Escalante as Katy de la
Cruz, Teroy Guzman as Ka Amado (Atang’s husband), and Frances Makil as the old
Atang. The songs rendered by Ms. Laurel (Atang) included notable kundiman favorites—
Nasaan Ka Irog, Pakiusap, Madaling Araw, Nabasag ang Banga (from the zarzuela
Dalaging Bukid), and Masayang Dalaga (from the zarzuela Ang Kiri).
Atang-DulangMayMusikastagedat UPDilimanin2008
Ayen Munji-Laurel, as Atang
Sharmaine Centenera-Buencamino,
alternating as Atang
She also sang duets with her husband Ka Amado such as Kitang Dalawa and Pilipinas
Kong Mahal. But what elicited enthusiastic audience response were the duets with Katy
de la Cruz, Magkano ang Bibingka Mo? and Mamang Gusting. The play also featured the
two men in Atang’s life – General Artemio Ricarte and her husband, National Artist
for Literature Amado Hernandez. Kitang Dalawa was originally a poem by Hernandez
dedicated to his wife, which Von de Guzman brought to life with his music.

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KATY! THE MUSICAL
The musical Katy! is about the life of bodabil (vaudeville) star Katy de la Cruz. It was
initially presented by Actors Studio East Production in 1988. The play commissioned
Ryan Cayabyab for the music and Jose Javier Reyes for the lyrics. It starred Mitch
Valdes in the title role.
Biography of Katy de la Cruz
Catalina de la Cruz was born in Bustos, Bulacan on

February 13, 1907 and died on November 10, 2004.
Popularly known as Katy de la Cruz, she was hailed
as the “Queen of Filipino Jazz” and “Queen of
Bobadil.”
Her career spanned eight decades, during which time she became the highest paid Filipino
entertainer.She appeared in films, jazz venues, theaters, and bodabil, the Filipino counterpart of the
American vaudeville. Bodabil contained songs and dances, slapstick comedy routines ,and magic acts
,with chorus girls providing musical and dance support. It became popular in the Philippines
from 1910 to the mid 1960’s, and was often used to fill in gaps between short Spanish
zarzuelas or between acts of longer ones. Among the leading bodabil performers during its
heyday were Bayani Casimiro (referred to as “the Fred Astaire of the Philippines”), Eddie Mesa
(“Elvis Presley of the Philippines”), Diomedes Maturan (“Perry Como of the Philippines”), and
Nora Aunor. Katy’s formal
schooling ended when she was just in the third grade. In its place, she became active
in show business. She started at the age of seven when she was hired by a Manila film
theater to sing to the movie audience in between movie screenings.
Those routines would later evolve into the bodabil (Filipino counterpart of Vaudeville),
where Katy would learn her songs by listening to phonograph records and the English
language from her brother. As a rising star in the bodabil circuit, she had the opportunity to
perform alongside Atang de la Rama. Soon, she became the main performer in Manila’s
largest theaters such as the Savoy, Palace, and Lux. Among her co-performers were
prominent entertainers Chichay, Etang Discher, Patsy, and Mary Walter.
Katy became associated with the jazz genre when it became nationally popular in the
1920’s. Her signature piece was the “St. Louis Blues.” At the same time, she was able to
master the art of scat singing, a vocal improvisation without words in favor of nonsense
syllables. In the 1930’s, she became identified with the song Balut, inspired by the local
duck egg delicacy. The song is still sung by performers like Pilita Corrales, New
Minstrels, and Lani Misalucha. She would also appear occasionally in films. She received
the FAMAS Best Supporting Actress in 1953 for her role in the film Inspirasyon.

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When bodabil started to decline, Katy decided to concentrate on concert performances and
international tours. Some of the foreign venues included the Forbidden City nightclub in San
Francisco. She also performed in popular casinos of Las Vegas and the concert halls of
Thailand, Taiwan, Australia, Singapore, and Hawaii. She retired in San Francisco.
Occasional performances, though, would still dot her schedules until the late 1980’s. Of
her four children, two followed her career path. The eldest Angie, being the more active,
paired with Nikki Ross to form the Wing Duo. This was a popular bodabil tandem in the
50’s. Her other child in show business was Veronica. Retiring from active life in the
1990’s, Katy died at the age of 97.
The Musical
The opening scene of the musical Katy! starts with a visit by Katy, already in her old
age, to the theater where she used to perform during her glorious past. Learning that it
would soon be closing down, Katy reminisces on her past. The musical unfolds as a
retrospect of her performances.
Other roles were portrayed by Tenten Muñoz as the young Katy, Celeste Legaspi as
Olivia, Bernardo Bernardo as Tatay, Marco Sison as Peping, Robert Seña as Dolphy,
Pinky Marquez as Hanna, Arlene Borja as Patsy, and Gigi Posadas as Mary. In January
2013, the revival of the musical was held at the Cultural Center of the Philippines Main
Theater, co-produced with the Spotlight Artists Centre. It was presented again at the
Meralco Theater from July to August of the same year. Portraying the title role was Isay
Alvarez Seña, supported by Aicelle Santos as Teen Katy, Yedda Lambujon/Leana
Tabunar as the young Katy, Dulce as Olivia, Tirso Cruz III as Tatay, Gian Magdangal as
Peping, Epi Quizon as Dolphy, Tricia Jimenez as Hanna, Celine Fabie as Patsy, and CJ
Mangahis as Mary. Some songs in the musical included Minsan Ang Minahal Ay Ako;
Saging; Luha sa Kinalimutang Lupa; Aba, ba, ba; Boogie; and Tingnan Mo Nga Naman.

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FLORANTE AT LAURA, THE MUSICAL
The musical Florante at Laura was presented by Tanghalang Pilipino at the CCP
Little Theater (Tanghalang Aurelio Tolentino) from July 7 to 24, 1988. This was in
celebration of the 200th birth anniversary of the author Francisco Balagtas-Baltazar.
The musical was selected as the official Philippine entry to the first ASEAN Theater
Festival in August 1988.
The music and musical arrangements

were done by Nonong Buencamino,
based on the book and lyrics of Tony
Perez. Directed by Nonon Padilla, the
production team included National Artist
Salvador Bernal for set and costume
design, Bobby Roces for lighting design,
and Christine Blando for choreography.
The lead roles were played by Bimbo
Cerrudoand Ronnie Quizon alternating
(Makata),JoanneLorenzana/ Rina Reyes as Laura (Musa), Audie Gemora/Tony
Marino as Adolfo (Lalaking Nakaitim), Dio Marco/Carlo Orosa as Aladin (Estudyante),
Celeste Bueno/Gina Wilson as Flerida (Dalagita), Nonie Buencamino/Jake Macapagal as
Minandro (Pusong-Babae), and
Armand Malig as Sultan Ali-Adab (Matandang Negosyante).
The Tale Behind the Musical
This tale by Francisco Balagtas-Baltazar takes place in a remote tropical jungle between
the mythical kingdoms of Albania and Persia. Two desperate warriors are lamenting the
fates that have befallen them. Florante, a Christian duke from Crotona formerly
bethrothed to Princess Laura of Albania, has been banished to die as a result of a coup led
by his scheming cousin Adolfo. Aladin, a weak Muslim prince from Persia, has also been
banished by his father, the Sultan Ali-Adab, for deserting his troops in battle.
Count Adolfo’s hatred for Florante started during their early school days in Athens.
During that time, Florante excelled in academics, sports, and the arts while Adolfo was
far behind the achievements of his cousin. He in fact attempted to kill Florante during a
school play out of jealousy, but the latter was saved by his best friend Menandro. As a
result, Adolfo was expelled from the school and sent back to Albania. The two meet
again during the funeral of Florante’s mother in Albania.
An emissary from Crotona, Florante’s birthplace, arrives at Albania to report to King

Linceo that the Persian general Osmalic has invaded their kingdom, and that Crotona

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also is in need of military aid. Florante offers to lead the Albanian troops to fight the
Persians, to the great distress of the king’s daughter, Princess Laura because she is
secretly in love with him.
Florante’s troops subdue the Muslims in Crotona, and a great celebration takes place.
In the midst of the revelry, Florante recalls the memory of Laura and her beauty. He
heads back to Albania without his knowing that the Turkish general Miramolin has
invaded defenseless Albania and imprisoned the royal household during his absence.
Florante and his troops arrive in time to rescue the monarchy and repel the Muslims,
among them is Aladin. After being badly wounded by Florante, he deserts his army
and escapes back to Persia.
Insane with jealousy over Florante’s two victories and Laura’s affection for him,
Adolfo plans to overthrow the monarchy and orders the execution of all government
leaders. He abducts Laura and exiles Florante to the jungle, where he is bound to a
tree and left at the mercy of the lions.
Aladin’s fate is a result of his intense love for Flerida. She is a Muslim maiden who
unknown to him, is desired by his own father, the Sultan Ali-Adab. He contrived to get rid of
his sonin order to court Flerida.T he Sultan sends Aladin with his troops to assist Miramolin in
capturing Albania. Reluctantly, Aladin prepares for battle as Flerida grieves. Aladin
wounded by Florante in Albania, he retreats and returns to Persia. His father sentences
him to death for abandoning his troops.
Pleading for the life of her beloved Aladin, Flerida consents to marry the Sultan and
thereby manages to reduce Aladin’s sentence. He is merely banished from the kingdom.
Aladin is released from prison and leaves Persia hastily without seeing Flerida. Upon
arrival in the jungle, he again meets Florante and frees him from bondage out of
compassion for a fellow outcast.
Minandro leads a rebellion in Albania and successfully overthrows Adolfo’s dictatorship.

Adolfo takes Laura and escapes to the jungle. He tries to court Laura, but is rejected. So,
he tries to overpower and rape her. On the eve of her wedding to the Sultan, Flerida
disguises herself as a warrior and slips out of the palace to look for Aladin. She decides to
hide in the jungle, where she comes upon Adolfo and Laura. Seeing Laura struggling to
free herself from the hands of Adolfo, Flerida shoots him with an arrow and kills him.
Like Florante and Aladin, the two ladies share their personal tragedies.
The four “ill-starred” lovers meet in the jungle in a joyful reunion amidst their
respective freedoms. They all travel to Albania, where Aladin and Flerida are
converted to Christianity. Florante marries Laura, and Aladin marries Flerida in a
jubilant double wedding. The reunited couple reigns as king and queen. Meanwhile,
upon receiving news of the death of Sultan Ali-Adab, Aladin and Flerida travel back
to Persia to rule as the new Sultan and his wife.

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Synopsis of the Musical
The musical is an adaptation of the original Florante at Laura where damned souls are
given the chance to be saved from eternal damnation if they can prove the existence of
true love. They are then transformed into the characters portrayed in the Florante at
Laura story, where a happy ending liberates the two unfortunate pairs of lovers.
The Makata (Poet) portrays the

role of Florante as the story
unfolds. Thrown in prison by a
wealthy rival’s evil plotting,
Makata pines for his beloved. He
writes her a farewell letter and
then slashes his wrists. Makata
then descends into Disko Averno,
an urban hell where all desperate
souls who commit suicide out of
love are sent.
Makata meets Pusong Babae (Homosexual) who hanged himself to end his love for his best
friend; Matandang Negosyante (Old Businessman) who shot himself out of guilt for falling in
love with his daughter-in-law; Dalagita (Young Woman) who leaped from a tall
building for being torn between her love for father and son; and Estudyante (Student)
who had a drug overdose upon learning about his father’s love affair with his girlfriend.
He also meets Lalaking Nakaitim (Man in Black) who presides over the disco and
welcomes him as a new guest.
Now on the brink of death, Makata hears the song of his Musa (Muse) as he clings to his
last strand of life. Eager to acquire his soul, Lalaking Nakaitim agrees to propose a deal:
Makata can escape eternal damnation only if he can prove the existence of true love.
Lalaking Nakaitim stages a play in the Lungsod (City) outside Disko Averno, and
designates roles to the disco dancers – Pusong Babae becomes Minandro, Matandang
Negosyante is Sultan Ali-Adab, Dalagita is Flerida, Estudyante is Aladin, Makata is
Florante (himself), and Lalaking Nakaitim is Adolfo. When the play is over and with
their true love finally proven, Pusong Babae, Matandang Negosyante, Dalagita, and
Estudyante are finally liberated from hell.
Makata finds himself in his prison cell once more. A messenger informs him that his beloved
and his rival have been wed, but that his beloved shed tears upon reading Makata’s
letter. In a final appearance, the Muse descends toward the Makata to bestow him with
her gift – the inspiration to write a verse epic (Awit) about love. The featured songs
include Pag-ibig ay Laging May Panahon, Sa Gubat, Prutas at Lason, Isang Basong
Pag-ibig, Awit ng Lumbay ni Florante, Ligaya ng Dibdib, and Sa Loob at Labas.

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DARAGANG MAGAYON
The musical play Daragang Magayon is a

production for poetry and mixed media for male
and female narrators, female voice, two
percussionists, two pianists, and two dancers. It
was first presented at the Cultural Center of the
Philippines Loading Dock in March 1991. It was
produced by the CCP Women’s Desk and the
Coordinating Center for Dance to mark Women’s
Month based on a poem by Merlinda C. Bobis.
The music was composed by National Artist Ramon

P. Santos, with choreography by Hazel Sabas, set and
lighting design by Katsch SJ Catoy, and costume Ea Torrado as Magayon in the 2013
design by Julie Lluch Dalena. The readers were restaging of Daragang Magayon
Dindo Angeles and Dessa Quesada, the vocalist was
Johanna Cabili, while the musicians were Josefino “Chino” Toledo, Verne de la Peña,
Mauricia Borromeo, and Leticia del Valle. It also featured dancers Wendy Panganiban and Brando
Miranda assisted by Ballet Philippines and the New Zeal and Ballet.
The Myth Behind the Musical
This myth on the origin of Mount Mayon is centered on an immortal tale of love familiar
to all people in the Bicol region. They would like to believe that the lovers Magayon, the
beautiful maiden for whom the volcano is named, and her lover Ulap must be kissing.
The only daughter of local chieftain Makusog, Magayon falls in love with Ulap, the brave
son of a neighboring tribe’s chieftain. However, a jealous suitor named Pagtuga
kidnaps Makusog and threatens to kill him unless Magayon marries him instead of Ulap.
With hands tied in order to save her father’s life, Magayon sadly agrees.
Just as they are about to be wed, Ulap appears at the ceremony and kills Pagtuga.
Magayon rushes into Ulap’s arms but she is unfortunately struck by a stray arrow. As she
lies dying in his arms, Ulap is also fatally stabbed in the back by one of Pagtuga’s men.
The two lovers are laid to rest. The mound of earth under which they are buried
grows bigger with the passage of time. Eventually, the mound rises up to become
known as “the volcano with a perfect cone,” named Mayon.
The breathtaking symmetry of Mt. Mayon has inspired visual and performing artists
alike. An example of this is composer Francisco Buencamino’s Fantasy for Piano and
Orchestra, Mayon, depicting the carefree life in the region until the volcano erupts
and destroys all life and vegetation. When the dust settles, however, the people return
to their usual chores and enjoy life once more.

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Restaging of Daragang Magayon
The restaging of the original musical play was held at the CCP Main Theater on
February 8, 2013, followed by another one in Albay entitled Daragang Magayon: An
Istorya ni Mayon. This musical revival was a production of E-Dance Theater and it
was also supported by the Bicol Provincial Government. The aim was to revitalize its
tourism program that would highlight the rich cultural heritage of Bicol. A major
twist was the use of technology and multimedia. It included film and animation and
some dance revisions to meet the choreographic demands of the new production
directed by Katrina Santos Mercado.
It was also highlighted by the involvement of National Artist for Literature Virgilio Almario
for poetry, Albay poet laureate (one who is regarded by a country or region as its most
eminent or representative poet) Abdon Balde for dramaturgy (the art or technique of dramatic
composition and theatrical representation), and Gerald Mercado for choreography. The music
of Ramon Santos was retained. The composer himself conducted an ensemble consisting of
the UP Rondalla, Novo Concertante Manila Choir, and singers Stefanie Diclas Quintin
(soprano), Agrifino Jonaf del Fierro (bass), and Jay-El Viteno (tenor). The major characters
were played by Ea Torrado as Magayon, Victor Maguad as Ulap, Francis Cascanoas Pagtuga
,and Marcus Tolentino as Makusog. The costume designer was Julie Lluch Dalena.
NOLI ME TANGERE, THE MUSICAL
The musical play Noli Me Tangere was staged at the CCP Little Theater from
February 1 to 4, 1996 as a production of Tanghalang Pilipino. The creative team
included Ryan Cayabyab as composer and musical director, National Artist
Bienvenido Lumbera as librettist, Edna Vida as choreographer, National Artist
Salvador Bernal as set and costume designer, Masaaki Sano as lighting designer,
Gerry Fernandez as associate lighting designer, and Nonon Padilla as stage director.

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The role of Crisostomo Ibarra is alternately played by John Arcilla and Audie Gemora,
Maria Clara by Gigi Posadas, Padre Damaso by Bodjie Pascua/Bernardo Bernardo,
Padre Bernardo Salvi by Eugene Villaluz/Raul Roxas, Elias by Calvin Millado/Raul
Roxas, Kapitan Santiago de los Santos by Lito Villareal, Doña Victorina de los Reyes by
Sheila Francisco/Peaches Gallegos, Sisa by Irma Adlawan/Mia Ongsiako, Tia Isabel by
Clottie Gealogo/Alma May Dalida, and Alfonso Linares by Roden Araneta.
The musical play closely follows the storyline of the original novel and the opera.
There are slight differences in the partitioning of the story into the different acts, in
the dramatization of the ending, as well as in the music and libretto which are entirely
exclusive between opera and musical play.
The musical play assumes a more contemporary approach in the musical compositions
owing to Cayabyab’s chromatic and rhythmically innovative style, as compared with de
Leon’s highly tonal and more lyrical character. Selected songs in the musical include Sa
Muling Pagkikita, Dalawang Liham, Tatlong Sulok ng Pag-ibig, Ang Mga Sawimpalad,
Ang Multo sa Lawa, Ang Totoo ay Totoo, and Sa Bagtasan ng Mga Landas.
The musical play had its rerun in 2011 during the 150th anniversary of Rizal’s birth, and
againin2013,bothtimesattheCCPLittleTheater.
EL FILIBUSTERISMO, THE MUSICAL
The musical play El Filibusterismo is a two-act play that was staged at the CCP Main
Theater from August 8 to 10, 1997 as a production of Tanghalang Pilipino. The
creative team was composed of Ryan Cayabyab for music,
Jovy Miroy for the libretto, Edna Vida for the
choreography, National Artist Salvador Bernal
for the set and costume design, and Nonon
Padilla for stage direction.
The role of Simoun/Crisostomo Ibarra was

alternately played by John Arcilla and Bernardo
Bernardo. Josephine Roces was Maria Clara,
Emmy P. Cayabyab and Melani Mabilangan
alternated as Paulita Gomez, Miguel Vera was
Isagani, and Ariel Dayanghirang was Basilio.
They were complemented by a large chorus.
The musical play closely follows the Rizal novel,

whose major character Crisostomo Ibarra disguised
as Simoun. He returns to Manila from thirteen years of absence in order to find his
beloved Maria Clara. Another reason is to stage a revolution to emancipate the country

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from colonial rule. His plots would fail more than once. The first attempt fails because of
the death of Maria Clara. The second attempt fails after his bomb plot was foiled during a
wedding festivity by his associates Basilio and Isagani. Simoun would later take shelter
in the house of Padre Florentino after escaping arrest by the authorities for his plots. He
commits suicide there through poisoning. The play ends with Isagani witnessing a
religious procession as Simoun lay dead from his own frustrations and desolation.
MAGSIMULA KA, THE MUSICAL
The musical play Magsimula Ka by Gines Tan was staged at the CCP Main Theater
from April 7 to 24, 1988. As the winner of the CCP Playwriting Contest in 1983, it
became one of the longest running musicals at the CCP. Later, it underwent a series
of revivals in the ensuing years while some of its initial lead performers eventually
became stars in their own right.
Magsimula Ka is the story of young dreamers

whose ambitions begin to fade in life’s realities.
They are part of the graduating class filled with
hopebutendupcompromisingtheiridealism for
their own survival. Miguel is a young composer
whose father forces him to forego his music in
favor of a business career. Monina wants to be a
social worker to help the less privileged but is
discouraged by the problems that go with the
profession. Mandy has a beautiful voice but
circumstances lead him instead to singing in a
cheap beer garden for
lack of support. Mario is a talented
scriptwriter whose creativity is directed to
writing “sex advice” columns in a tabloid.
The play responds to the young peoples’ lingering question of whether there is hope for
them in this cruel world. A major factor in realizing this hope is to start and uphold one’s
talent or ambition despite all odds. These are evident when they meet a disabled girl whom
they befriend and teach how to overcome her physical and psychological suffering; when the
beer garden hostesses where Mandy sings take pride in themselves; when
Miguel’s mother finds fulfillment in her son’s eventual success; or when Miguel’s younger
sister plays a crucial role in his reconciliation with their father.
The three boys – Miguel, Mandy, and Mario – decide to join a national pop-song
competition ‘Philippop’ and reach the final stage. The finals represent the crucial part of
the play where the songs of equally talented groups are also performed. Here, the cast of
veteran singers form part of the competition. A romance also develops between Miguel

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and Monina. The climactic song Magsimula Ka is a fitting theme for the musical and
its contestants in search of fame and fortune.
The cast was a combination of veteran singers and new talents that included Dio Marco
alternating with Joey Lorenzo as Miguel, Isay Alvarez as Monina, Armand Malig/Bobby
Martino as Mandy, and Albert Jimenez/Rico Villavert as Mario. Others in the cast
included Jograd de la Torre as Jograd, Beverly Salviejo as Manang, Oby Castañeda/Edna
Triste as Mr. and Mrs. Madrigal, Shielu Bharwani as Millie, and Alana Soriano as Della.
Veteran guest performers were Celeste Legaspi, Leah Navarro, Leo Valdez, Marco Sison,
Pat Castillo, Rico J. Puno, Dulce, Angelique Lazo, Carlo Orosa, and Gigi Posadas. The
composer/musical director was Gines Tan, while the musical arranger was Ryan
Cayabyab. Choreography was by Edna Vida, set design by Ferdie Jingco, light design by
Monino Duque, sound design by Mylo Sarmiento, and costume coordination by Edgar
Alegre. Direction was by Nestor U. Torre.
Numerous songs in the play eventually became popular hits. These include: Magandang
Gabi, Buhay Ko’t Pag-ibig, Kundi Ka Masilayan, Kahit Kailanman, Ialay Sa Akin, Pa-
Istaran, Hiyas Na Pugad, Ang Nais Ko, Katuwaan, Ang Dapat Masunod, Buhay ng
Atsay/Kilabot ng Atsay, Mundo’y Laging Bata, Mahirap Magpalaki ng Magulang,
Delia…DingginMo!,HalagangBuhay,Pa’noKita Liligawan?, MgaDiwatangKalapati,
Kahit Saan, Kahit Kailan, Halina Sa Baclaran, Munting Habilin, Sinong Magwawagi,
Sinong Masasawi?, Higit Kailan Pa Man, and Ang Katutubong Pilipina. For the
“Philippop Finals,” the song entries included Pangarap, Pag-ibig, Pag-asa, May Dilim,
May Liwanag, Kahit Isang Dukha, May Langit Ding Malalasap, Buhay Disco, Sisikat
Din Ako, Tanging Ikaw Lamang, Sa Tuwing Kapiling Ka, and Magsimula Ka.
A revival of the musical was held at the Music Museum, with one of the original stars
Isay Alvarez and her husband Robert Seña as producer and director, respectively.
Opening with the Philippop scene, the guest stars were Jamie Rivera, Isay Alvarez
Seña, Robert Seña, and Jenine Desiderio.
The scene turns back the clock to the graduation ceremony of four friends – Miguel
(Poppert Bernadas), Mandy (Myke Salomon), Mario (Fredison Lo), and Monina (Ciara
Sotto). It also featured Ana Feleo as Miguel’s mother.
The theme song Magsimula Ka won three major prizes – Song of the Year Award in the
First Cecil Awards of 1982, Grand Prize award in the First ASEAN Song Festival in
1981, and the Third Prize award in the 4th Metro Manila Popular Music Festival in
1981. The popularity of the play resulted in its elevation into a full-length musical
with the same title that won the 1983 CCP Playwriting Contest. This has been
performed more than 80 times around the country.

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SUMMARY
In the Philippines, the musical play is a more recent development than its Broadway
and West End counterparts, relying mostly on adaptations from novels, literary
works, or biographical sketches of famous artists.
The musical play entitled Andres Bonifacio: Ang Dakilang Anak-Pawis is a five-act
work commissioned by Alfonso Puyat in 1979, depicting the life of revolutionary
hero Andres Bonifacio. Music was by Jerry Dadap.
The musical play Atang - Dulang May Musikal, written by Floy Quintos and
directed by Alexander Cortes, was shown at UP Diliman in 2008 as part of the
Zarzuela Festival organized by the UP College of Arts and Letters. It is a musical
based on the life of the first superstar of the Philippines, Atang Dela Rama.
The musical Katy! is about the life of bodabil star Katy de la Cruz. It was initially presented
by Actors Studio East Production in 1988. The music and musical arrangements were done
by Nonong Buencamino, based on the book and lyrics of Tony Perez. The play
commissioned Ryan Cayabyab for the music, Jose Javier Reyes for the lyrics, and starred
Mitch Valdes in the title role.
The musical Florante at Laura was presented by Tanghalang Pilipino at the CCP Little
Theater (Tanghalang Aurelio Tolentino) from July 7 to 24, 1988 in celebration of the
200th birth anniversary of the author Francisco Balagtas-Baltazar. It was selected as the
official Philippine entry to the first ASEAN Theater Festival in August 1988.
The musical play Daragang Magayon, a production for poetry and mixed media for male
and female narrators, female voice, two percussionists, two pianists, and two dancers, is
based on a poem by Merlinda C. Bobis. It was first presented at the Cultural Center of the
Philippines Loading Dock on March 1 and 2, 1991. It was produced by the CCP
Women’s Desk and the Coordinating Center for Dance to celebrate Women’s Month.
The musical play on Noli Me Tangere was staged at the CCP Little Theater from February 1
to 4, 1996 as a production of Tanghalang Pilipino. The creative team included Ryan
Cayabyab as Composer and Musical Director, National Artist Bienvenido Lumbera as
Librettist, Edna Vida as Choreographer, National Artist Salvador Bernal as Set and Costume
Designer, Masaaki Sano as Lighting Designer, Gerry Fernandez as Associate Lighting
Designer, and Nonon Padilla as Stage Director. The musical play closely follows the
storyline of the original novel and the opera. The musical play assumes a more
contemporary approach in the musical compositions owing to Cayabyab’s chromatic and
rhythmically innovative style.

159
The musical play on El Filibusterismo was staged at the CCP Main Theater from August
8 to 10, 1997 as a production of Tanghalang Pilipino. The creative team was composed
Libretto, Edna Vida for the Choreography,
National Artist Salvador Bernal for the Set and Costume Design, and Nonon Padilla
for Stage Direction. The musical play closely follows the Rizal novel, whose major
character Crisostomo Ibarra disguised as Simoun.
The musical play Magsimula Ka by Gines Tan was staged at the CCP Main Theater from
April 7 to 24, 1988. As the winner of the CCP Playwriting Contest in 1983, it became one of
the longest running musicals at the CCP. Later, it underwent a series of revivals in the
ensuing years while some of its initial lead performers eventually became stars in their own
right. Magsimula Ka is the story of young dreamers whose ambitions begin to fade in
life’s realities. They are part of the graduating class filled with hope but end up
compromising their idealism for their own survival. The play responds to the young
peoples’ lingering question of whether there is hope for them in this cruel world. A major
factor in realizing this hope is to start and uphold one’s talent or ambition despite all
odds.
WHATTOKNOW
1. How did the different forms of Philippine opera, ballet, and musical
plays reflect life in the 20th century?
2. Discuss the characteristics of Philippine opera, ballet, musical play, and

other multi-media forms. Explain your answers.
3. What role did media and social media play in the development of these
musical genres specifically the radio, television, video, and recordings?
4 Explain how theatrical elements in a selected part of a musical play are

combined with music and media to achieve certain effects.
5. Describe how an idea or story in a musical play is presented in a live

performance.
6. Describe how an idea or story in a musical play is presented in a music

video.
7. How is Broadway music relevant to life in the 20th century?
8. Discuss some characteristics of Broadway music that made it popular.

160
Enrichment Activities
Watch Live / TV Performances

1. Watch live performances of Philippine opera, ballet, and musical plays
that had been discussed in class if available in your area, or watch live
performances on TV or the internet.
2. Watch a live performance of a Western opera (ex: Rigoletto, Tosca, La
Traviata, Aida), ballet (ex: Swan Lake, Nutcracker), or a Broadway
musical, or watch video clips or excerpts on TV or the internet.
3. Write a reaction paper on what you have watched.
WHAT TO PERFORM
Group or Individual Activities
1. Concert - Live Performance of Philippine musicals and Broadway musicals
a. Present an excerpt of a 20th or 21st century Philippine musical and an

excerpt of a Broadway musical.
b. Highlight the similarities and differences between these two forms of

musicals.
c. You may use musical instruments as accompaniment for your music

works or you may perform a capella (without accompaniment).
d. Use props and costumes, if needed.

161
Post-test
1. A type of behavior said to be in accordance with the order that makes life and the
universe possible.
a. Dharma b. Ramayana c. Rama-hari d. Lion king
2. Popular entertainment with themes and texts are generally light and easy to understand.
a. Carousel b. Broadway musical c. Opera d. Musical plays
3. It is perhaps the most famous of all French musicals and one of the well-loved performed
worldwide.
a. Les Mis b. Carousel c. Les Miserables d. Florante at Laura
4. She was a singer, bodafil performer and the first Filipina film actress.
a. Ayen Munji b. Anna Migalles c. Katy de la Cruz d. Atang de la Rama
5. Her career spanned eight decades, during which time she became the highest paid
Filipino entertainer.
a. Catalina de la Cruz b. Atang de la Rama c. Hazel Sabas d. Johanna
Cabili
Key to Correction
Pre-test Post-test
1. T 1. A
2. T 2. B
3. Panaginip 3. C
4. T 4. D
5. Ibon 5. A
Prepared by:


162
Physical Education 8 OHSP Learner’s Material
1
Grade 8 Learning Materials
(Under K to 12 Curriculum)
MAPEH Grade 8
Physical Education
(First Quarter)
Health Related Fitness

INTRODUCTION
This module is designed for you, as a Grade 8 learner, to explore knowledge

and skills that will help you and your family develop a lifelong habit of physical fitness and
wellness. This actvity will be a real challenge for you and your family.
Nowadays, people become less physically active because of various reasons and one
of those is brought by the advancement of science and technology. Many are no longer
participative in any fitness-relevant activities. We are aware of the health benefits and
importance derived from engaging in physical activities, yet we tend to take its significance
for granted. Unfortunately, many young people do not engage in worthwhile exercises or
physical activities anymore. This may be due to your youth and your ability to execute with
less effort, or your current health status.
Being physically fit and healthy can help you get through with the stresses and
demands of life and this improves your self-esteem, develops your confidence and self-
concept which can only be realized when are much older.
Health-related fitness activities play a vital role in the holistic development of a
person. Fitness activities, usually depend on individual’s choice, age, and ability. Health-
related fitness ensures cardiovascular fitness and thus helps you in the process of aging.
Health–related fitness activities are provided for you to have a better grasp on the
lesson at hand, and they will equip you with various choices in selecting the most appropriate
exercises or activities that will help you and your family to achieve a level of physical
wellness. Expectations from these activities should be clear to you and questions are
encouraged for your better understanding.

2
You will be encouraged to design an HRF (Health Related Fitness) plan that will cater
to the needs of your family. An HRF plan is a set of fitness goals. These goals that you
establish should take into account your current as well as your desired fitness levels. Even
after the implementation of the designed HRF plan, you will still need to evaluate its success
or failure. Accordingly, you then make certain revisions in order to encourage yourself and
your family to continue the HRF activity for life. There is also a need to emphasize the
importance of making the activity fun and enjoyable. In doing so, you’ll have exercise as a
habit for life.
Objectives
At the end of the lesson, you should be able to

 recognize the physical activity habits of the family in terms of health-related fitness
components;
 undertake fitness tests;
 assess the family’s strengths and weaknesses in the components of HRF;
 perform exercises to enhance cardiovascular and muscular fitness;
 demonstrate HRF for the family regularly to ensure its promotion of an active lifestyle;
 explain why the purpose is critical in ensuring the conduct of activities in the family;
 design physical activities that promote cardiovascular and muscular fitness to family
members.
 Both male and female will undertake fitness test.

3
Pre-Test
This Pre-test is given to find out how well you know and understand the importance
of physical movements in your daily life. These activities will assess your knowledge and
skills on Health-Related Fitness.
A. Identify and classify the pictures as shown based on the components of health-related
fitness(cardio-vascular endurance, flexibility, Muscular strength, Muscular endurance,
Body composition).Write your answer in your notebook.
1. 2. 3.
4. 5. 6.
$$$$$$$$$
7. 8. 9. 10.
The result of your pre-test will not be graded but will help
the teacher determine your knowledge of the lesson.
Learning
Goals and Physical Education 8 OHSP Learner’s Material
Targets 4
Provide below your expected personal learning goals and targets.
Learning goals and targets are lessons you expect to learn from this learning materials. Example: I will be able
to identify the four components of HRF.
 _____________________________________________
 _____________________________________________
 _____________________________________________
 _____________________________________________
 _____________________________________________
 _____________________________________________
 _____________________________________________
 _____________________________________________
Congratulations! You have identified your

learning goals and this tme you are ready to explore
the next learning steps .
Remember, that in this quarter it is expected that you have

enough understanding about physical fitness. Your Grade 7
experience has already given you an overview of physical fitness
as both skill-related and health-related fitness.

5
Part I. WHAT TO KNOW
In this stage, you will reflect on how well you understand the concept of health-
related fitness and your expectations about the topic. You are encouraged to ask questions for
further clarifications. The following activities shall help you assess your knowledge about
health-related fitness exercises. This will give you opportunities to identify and clarify any
misconceptions you have about the lesson.
Activity 1
Where Am I?
Let’s play a brain teasing fun game called “Word Scramble”. Find from the untangled
letters that would compose the components associated with Health-Related Fitness. The
words could be in any directions as long as the letters are all inter-connected. In you activity
notebook, write these words and try to define each word identified.
S C E N T E R O W
B T E N D U R A E
O L R V I T A N C
D F L E X I B I L
Y C O M N D Y T I
I S O P O G F Y R
T I O N S P T A G
M A X I M U M H E
My answers:
1.________________________________
2.________________________________
3. ________________________________
4. ________________________________
If you have found the words and were able to define

each that would mean that you have the basic
knowledge of HRF. Below is a discussion on the
components of HRF. Read it carefully. On your
worksheet, answer the questions following the article.

6
Components of Health-Related Fitness
Fitness is defined as a condition in which an individual has enough energy to avoid fatigue
and enjoy life. Try to look back and reflect on your day’s activity. Do you have lots of
energy, or do you get tired easily?
Physical fitness is divided into four health- and six skill-related components.
Skill-related fitness enhances one’s performance in athletic or sports events.
Health-related fitness is the ability to become and stay physically healthy.
Health Components Skill Components

Cardiorespiratory fitness Agility
Muscular strength and endurance Balance
Flexibility Power
Body composition Speed
Coordination
Reaction time
Health-related components focus on factors that promote optimum health and prevent the
onset of disease and problems associated with inactivity.
Four Components of Health-Related Fitness
• Cardiovascular fitness is the ability of the heart (cardio) and circulatory system (vascular)
to supply oxygen to muscles for an extended period of time.
Cardiovascular is also called cardiorespiratory (lungs) fitness. Usually the 1km run or some
other type of continuous fitness activity (12-minute run, cycling, step-test, etc.) is used to
assess cardiovascular fitness.
• Muscular strength and endurance is the muscle’s ability to produce effort or perform
work.
• Muscular endurance refers to the ability of the muscle to work over an extended period of
time without fatigue. Performing push-ups and sit-ups or crunches for one minute is
commonly used in fitness testing of muscular endurance.

7
• Muscular strength refers to the maximum amount of force a muscle can exert against an
opposing force. Fitness testing usually consists of a one-time maximum lift using weights
(bench press, leg press, etc.).
• Flexibility is the ability to move a body part through a full range of motion (ROM) at a
joint. The sit-and-reach is commonly used to determine flexibility.
• Body composition is the ratio of body fat to lean body mass (including water, bones,
muscles, and connective tissues). Having too much fat tissues is a risk factor for
cardiovascular diseases, diabetes, cancer, and arthritis.
In addition to improving quality of life, health-related fitness
• increases muscle tone and strength;

• decreases susceptibility to injuries and illness;
• improves bone mineral density;
• reduces risk of osteoporosis;
• improves posture;
• increases efficiency of the respiratory and circulatory systems;
• decreases risk of cardiovascular disease and stroke;
• improves blood pressure;
• decreases risk of diabetes and some cancers;
• improves self-esteem and self-confidence;
• decreases body fat and improves metabolism; and
• increases energy level and academic achievement.
After reading this article, answer the following questions below on your worksheet:
1. In your own words, define fitness.
___________________________________________________________________________
________________________________________________________________.
2. Describe the difference between health-related and skill-related fitness
components_________________________________________________________________
__________________________________________________________________________.
Activity 2
Quest for Fitness
What are my daily

routines or tasks
associated to
health-related
8
fitness?
Reflect on your daily activities and write them down on the table below. Give special
attention to activities that will help improve your HRF and maximize your body potentials.
Write your answer in your activity notebook.
My daily routines/tasks HRF components
1.
2.
3.
4.
Do you know that doing household

chores helps a lot in maintaining physical
fitness? Think about this: for the whole day,
you have been sitting down in the classroom,
listening and writing down notes which make The next
you immovable. So find time doing household activity is a
chores as part of your daily routines.
reinforcement of
what you have
learned in part 1.
Activity 3
Photo album
In this activity, you are expected to collect pictures showing different activities of a
person. Paste this pictures in your scrapbook and describe the action and how the person in
the picture might be feeling. List down benefits associated with each activity.

9
Examples of pictures might include:
 A smiling child running (feeling free and happy)
 A group of people engaged in a game or sport (having fun)
 A figure skater, dancer, or gymnast performing (graceful, powerful)
Variation: Create a scrap book of cut-out pictures from newspapers or magazines that will
illustrate the benefits of being active.
Wow, you have done a

great job! Your presentation was
indeed a work of art. It is now very
clear that you have understood our
lesson well.
Activity 4
Family
Connection
In this activity, you are to identify the physical activity habits of the family in terms
of health-related fitness components. A table is provided for you to list down important
details of the family that would be of help later when you will be designing your family HRF
activity plan.
Family Age Occupation/ Activities involved in HRF Household HRF

Members relation to the component Chores component
Work/Job Occupation/Work/Job involved involved
Example: Feeds the

Drives and sits for 8 chicken,
Father 54 PUJ Diver
hours Repair
damages in the
house . . .
Mother 48 Housewife
Sister 25 None
Brother 1 22 Laborer
Brother
18 Student
2
Me 14 Student
(Just indicate those people you are living with.)
Great job! That wasn’t too hard,

right? You are now ready to level up. The
succeeding activities awaiting you will be
10
more interesting and fun-filled. So, hold your
breath and enjoy!
Part II. WHAT TO PROCESS
Activities are provided for you to have a deeper understanding on the

importance of exercise in building total fitness and family wellness. The activities will
also allow you to develop better understand HRF.
Once again you must undertake

the fitness test for comparative purposes
in determining general fitness. This is a
test given to you every year. So this
would not be hard for you to perform.
Make sure to follow the instructions to
avoid accidents or injuries.

11
Activity 1
Physical Fitness Test (HRF)
This activity must be done by both male and female.
1. Prepare for the test.

 Review the procedures in conducting the Physical Fitness Test.
 Do the warm-up exercises on your own or with your partner.
 Re-orient yourself on the proper execution of the tests and recording of
test results.
 Go through with the test without exerting maximum effort.
 Observe safety.
2. Perform the test with a partner(a friend, relative or a neighbor)

3. Record your test results.
4. This data is important in preparing your nutritional status report.
Physical Fitness Test
Health Related Fitness
BODY COMPOSITION – is the body’s relative amount of fat to fat-free mass.
A. Body Mass Index (BMI)
WEIGHT [in Kilograms]

HEIGHT [in Meters]2
Example: 30 30 20.83 (NORMAL)

(1.2)2 1.44
CLASSIFICATION:
BELOW 18.5 Underweight
18.5 – 24.9 Normal
25 – 29.9 Overweight
30.0 – ABOVE Obese
A.1 Weight – the heaviness or lightness of a person.
Equipment:
Weighing Scale

12
Procedure:
For you as the test taker:

a. Wear light clothing.
b. On bare feet, stand erect and still with weight evenly distributed on the
center of the scale.
For your partner:

a. Before the start of weighing, adjust the scale to zero point.
b. Record the score in kilograms.
Scoring – record body mass to the nearest 0.5 kilograms
A.2 Height – it is the distance between the floor to the top of the head in standing
position.
Equipment:
1. An even and firm floor and flat wall
2. L – square
3. Tape measure laid flat to a concrete wall. The zero point starts at the
bottom of the floor.
Procedure:
For you:
a. Stand erect on bare feet with heels, buttocks and shoulders pressed
against the wall with tape measure.
For your partner:

a. Place the L-square against the wall with the base at the top of the head
of the person being tested.
b. Record the score in meters.
Scoring – record standing height.

* 1 meter = 100 centimeters
B. Waist Circumference
– waist circumference is a good predictor of visceral fat which
contributes more risk of cardiovascular disease and diabetes
than fat located in other areas of the body.
Equipment:
Tape Measure

13
Procedure:
For you:
a. Wear light clothing before taking waist circumference.
b. On bare waist, stand erect and wrap tape measure around waist.
For your partner:

a. Record the score in centimeters.
Standard
Men Women
Risk Centimeter Inches Centimeter Inches
Very High >120 >47 >110 >43.5
High 100 – 120 39.5 – 47 90 – 109 35.5 – 43
Normal 102 40 88 34.6
Low 80 – 99 31.5 – 39 70 – 89 28.3 – 35
Very Low <80 <31.5 <70 <28.5
STRENGTH – refers to the muscle’s ability to generate force against physical

objects. In the fitness world, this typically refers to how much
weight you can lift for different strength training exercises.
1. 90 – Degree Push-up
Purpose – to measure strength of upper extremities
Equipment
Exercise mats or any clean mats
Procedure
For you:
a. Lie down on the mat; face down in standard push-up position: palms on
the mat under the shoulders, fingers pointing forward, and legs straight,
parallel, and slightly apart, with the toes supporting the feet.
b. FOR BOYS: Straighten the arms, keeping the back and knees straight,
then lower the arms until there is a 90-degree angle at the elbows
(upper arms are parallel to the floor).

14
FOR GIRLS: With knees in contact with the floor, straighten the arms,
keeping the back straight, then lower the arms until there is a 90-degree
angle at the elbows (upper arms are parallel to the floor).
c. Perform as many repetitions as possible, maintaining a cadence of 20

push-ups per minute (2 seconds going down and 1 second going up).
For the tester:

a. As the student assumes the position of push-up, start counting as the
student lowers his body on the ground until he reaches 90-degree angle
at the elbow.
b. Make sure that the student performs the push-ups in the correct form.
c. The test is terminated when the subject can no longer perform the push-
ups in the correct form (three corrections are allowed), is in pain,
voluntarily stops, or when cadence is broken.
Scoring – record the number of push-ups made.
2. Curl-ups
Purpose – to measure strength of abdominal muscles
Equipment
Exercise mats or any clean mats
Procedure
For you:
a. Lie on your back with the knees flexed and the feet 12 inches from the
buttocks.
b. Feet cannot be held or rested against an object. The arms are extended
and are resting on the thighs
c. Complete a slow, controlled curl-up, sliding fingertips along the floor
until they touch the second tapeline.
d. The curl-up should be performed at a rate of one every 3 seconds or 20
curl-ups per minute (2 seconds going up and 1 second going down).
e. There should be no rest at the bottom position, and perform as many
curl-ups as possible without stopping.

15
For the tester
a. One curl-up is counted each time the student’s shoulder blade touches
the floor.
b. Make sure that the student performs the curl-ups in the correct form.
c. The test is terminated when the subject can no longer perform the curl-
ups in the correct form (three corrections are allowed), is in pain,
voluntarily stops or when cadence is broken.
Scoring – record the number of curl-ups made.
FLEXIBILITY – refers to the ability of the joints to move through a full range of
motion.
1. Sit and Reach – a test of flexibility for the lower extremities particularly the
hamstring.
Purpose – reach as far as possible without bending the hamstring
Equipment:
Tape Measure
Procedure
For you:
a. Sit on the floor with back flat on the wall with feet approximately 12
inches apart.
b. Without bending your back, knees, and elbows, place one hand on top
of the other and position the hands on the floor.
c. After the tester has positioned the zero point of the tape measure, start
the test by slowly reaching the farthest point possible without bending
the knees.

16
For your partner:
a. As the student assumes position (b) procedure, position the zero point of
the tape measure at the tip of the finger farthest from the body.
b. See to it that the knees are not bent as the test taker reaches the farthest
that he/she could.
c. Measure the farthst distance reached.
d. record the score in centimetesr.
Scoring - record sit and reach to the nearest 0.1 centimeter.
2. Zipper Test – a test of upper arm and shoulder girdle flexibility intended to
parallel the strength / endurance assessment of the region.
Purpose – to touch the fingertips together behind the back by reaching

over the shoulder and under the elbow.
Equipment:
Ruler
Procedure:
For you:
a. Stand erect.
b. To test the right shoulder, raise your right arm, bend your elbow, and
reach down across your back as far as possible.
c. At the same time, extend your left arm down and behind your back, bend
your elbow up across your back, and try to cross your fingers over those
of your right hand.
d. Reach with the right hand over the right shoulder and down the back as if
to pull a zipper or scratch between the shoulder blades.
e. To test the left shoulder, repeat procedures a – d with the left hand over
the left shoulder.
For your partner:

a. Observe whether the fingers touched or overlapped each other.
b. Measure the distance in which the fingers overlapped.
c. Record the score in centimeters.

17
Scoring – record zipper test to the nearest 0.1 centimeter.
Standard
0 – did not touch fingers
1 – just touched fingers
2 – fingers overlapped by 1-2 cms.
5 – fingers overlapped by 8 cms. or more
CARDIOVASCULAR ENDURANCE – is the ability of the heart, lungs and

blood vessels to deliver oxygen to working muscles and tissues,
as well as the ability of those muscles and tissues to utilize that
oxygen. Endurance may also refer to the ability of the muscle to
do repeated work without fatigue.
1. 3–Minute Step Test
Purpose - to measure cardiovascular endurance
Equipment
1. Step with a height of 12 inches
2. Stopwatch
Procedure
For you:
a. Position in front of the step.
b. At the signal go, step up and down on a bench for 3 minutes at a rate of
24 steps per minute. One step consists of 4 beats, – that is, “up with the
left foot, up with the right foot, down with the left foot, down with the right
foot.”
c. Immediately after the exercise, stand and relax. Don't talk.

18
d. Right after the activity, locate your pulse. (the first beat is zero.)
e. Count the pulse for 10 seconds. Multiply by 6.
For your partner:

a. As the student assumes the position in front of the step, signal, “Ready”
and “Go”, start the stopwatch for the 3-minute step test.
b. After the test, let the student count his pulse for 10 seconds and multiply
it by 6.
Scoring – record the 60-second heart rate for the activity.
PERFORMANCE TARGETS FOR BOYS

ENDURANCE
STRENGTH FLEXIBILITY
AGE 1 Km.
Partial Curl- 90 degree Sit and Reach Zipper 3 min. Step Walk/Run
Ups Push-Ups (cm.) Test Test
4:57
9 23 15 37 122
4:40
10 25 16 39 121
4:27
11 26 17 41 119
4:25
12 28 18 43 117
4:19
13 32 19 45 115
4:18
14 36 20 50 110
4:14
15 38 21 55 107
4:10
16 42 22 56 105
4:00
17 45 23 64 102
3:55
18 47 24 69 99
3:45
19 49 25 70 98
3:35
20 51 26 72 96
3:30
21 55 27 72 95

19
PERFORMANCE TARGETS FOR GIRLS
ENDURANCE
STRENGTH FLEXIBILITY
AGE 1 Km.
Partial Curl- 90 Degree Sit and Reach Zipper 3 min. Step Walk/Run
Ups Push-Ups (cm.) Test Test
5:30
9 20 7 43 119
5:00
10 21 7 45 117
4:55
11 21 8 47 115
4:50
12 22 9 49 113
4:47
13 22 10 52 111
4:38
14 23 11 54 108
4:30
15 23 12 58 103
4:25
16 24 13 63 101
4:17
17 25 14 68 100
4:10
18 26 14 72 98
4:05
19 27 15 74 96
3:37
20 30 15 75 95
3:35
21 30 16 75 93
Pictures: Sherwin S. Simangan, Justin Roi V. Dulin, Kim Cepeda, Zhanne Kisner Collado
You did it! So now, you can have a comparison of your previous
fitness test result with your current test result. Have you improved? Well,
that would mean you are doing well physically.
The succeeding activities will assess your skills on HRF. A variety

of activities, like sports and fitness exercises, are prepared for you to
which will suit the needs of your family.
Break a leg,
buddy!

20
Activity 2
Tough Nut to Crack
Select a sports equipment available in your home. Think about how you’ll use
it. Play for 10-15 minutes with your friends, relatives or neighbor. Jot down notes on
the different movements to be executed during the game. Relate those movements
to the health-related fitness. Write your observations on your activity sheet/notebook.
What to observe:
 What are the different movements you executed? (e.g. running, swinging the
bat, throwing the ball . . . )
1. Identify the parts of the body involved and uninvolved while using the
sports equipment.
2. While performing the sports, what specific skills or movements do you
think will help you build the four (4) components of HRF?
3. Reflect how this sports activity can help enhance your health-related
fitness and achieve a balance and total fitness.
4. Among these activities, what would suit the needs of your family in terms
of HRF?
Alternative Activity: Target Zone

In your activity notebook, copy the table as shown, and identify what activity is
represented by each sports material. Reflect on the health benefits derived from
engaging in these activities. Select the best and most appropriate activity for your
family as you design your HRF plan
Whew! That
was quite fun.

21
Activity 3 below can also be done with your
family at home. This would be excellent if the
family members are involved because the end
product of this quarter is all about designing an
HRF plan for them.
Activity 3
Listen to your Heart
1. You are going to look for a partner (a friend, a relative, a neighbor) for this
activity.
2. Review your knowledge on how to check the pulse rate before and after a
physical activity.
3. You are to execute the exercises or activities for each component of the HRF.
Choose from the suggested exercises below.
4. Observe carefully what exercises are mild or easy, average and intense or
difficult.
5. Chart your pulse rate before and after the activity.
Pulse Rate Before After

Exercise A Example: mild
Exercise B
Exercise C
6. On your activity sheet, answer the following questions after performing the
exercises. Assess the physical activity or exercises given to you.
a. Do you think that these exercises or physical activities are appropriate for
your family?
b. If you are to design a fitness plan for the members of the family, what are
the things to consider?
c. What are the possible activities you can give? Cite examples.
d. Are these activities suited for each of the member of the family?

22
Suggested Exercises:
FLEXIBILITY EXERCISES
Stretch #1: Shoulder and Chest

This can be performed kneeling or standing. Clasp your hands
behind your back and straighten your arms. Raise your hands as
high as possible and bend your body or trunk forward from the
waist and hold the position for ten seconds.
Stretch #2: Arm Across Chest

Place one of your arms straight across your chest. Place your other hand
on your elbow and pull your arm towards chest and hold. Repeat with
your other arm.
Stretch #3: Triceps Stretch

Place one hand behind your back with elbow in up. Place your other
hand on the elbow and gently pull towards your head. Hold and repeat
with your other arm.
Stretch #4: Gluteus Stretch

Sitting on the floor with your right leg bent, place your right
foot over your left leg. Place your left arm over your right leg
so your elbow can be used to push your right knee. Hold and
repeat for other side.
Stretch #5: Adductor Stretch

Stand with your feet as wide apart as is comfortable. Shift weight to
one side as your knee bends. Reach towards your extended foot and
hold. Repeat for other side.
Stretch #6: Single Leg Hamstring

Place your leg out straight and bend the other so your foot is flat into
your thigh. Bend forward from your waist keeping your back flat. Do the
same for the other leg.
Stretch #7: Standing Quadriceps

Standing on one leg grab the bottom of your other leg (just above ankle).
Pull your heel into your buttocks and push your hips out. Your thigh should
be perpendicular to the ground. Hold and repeat with the other leg.
Stretch #8: Standing Calf

Place your feet in front of each other about 18 inches apart. Keep your
back leg straight and your heel on the floor. Push against a wall to
increase the stretch. Hold and repeat with your other leg.
STRENGTH EXERCISES

23
Using differrent gym equipment is not the only way to develop our muscle
strength.When we do our daily chores, we utilize our muscle,it helps to
develop our muscle strength.
Example: pitching water,carrying heavy object.
CARDIOVASCULAR ENDURANCE EXERCISES

These exercises would consist of jogging, cycling, and stair climbing, and
running.
Activity 4
Because I Care

24
Review and assess your output in “Family Connection” activity. Focus on the
strengths and weaknesses of each family member with regards to the health-related
fitness. Give special attention to the aging members of the family and those with
physical disabilities. Copy the following table and do your own assessment:
Family Health Assessment

Family Age Body Composition Medical HRF components
Members (BMI) history Weaknesses Strengths
Father
Mother
Sister
Brother 1
Brother 2
Me
So learner, what have you found out? Were you Now that you
surprised with the data you have gathered? Well, these have identified the
are data you have to remember when planning the HRF weaknesses and
activity of your family. strengths of each
family member, the
next activity will
help you plan
exercises for the
family.
Activity 5
Work it out
Propose exercises for flexibility, strength and cardio-respiratory endurance (at

least 5 exercises for each component). Your output will be presented to your
teacher. Provide your own music.
Things to remember when performing your exercises:

1. Chosen exercises are aligned with your HRF goal. Timing and coordination
blend well with the music and exercises are excellently executed.
Fantastic learner! You were able to hurdle another

challenge in this quarter. This proves you are doing fine
and going to the right direction. Now that you have
tackled Part II of this quarter, it is understood that you
have fully grasped the essence of these activities.
25
Part III. WHAT TO REFLECT
AND UNDERSTAND
At this stage, you are given opportunities to reinforce and deepen your
understanding on the importance of HRF activities and exercises. You will also be
provided with activities that will assess the mastery of your understanding.
Activities 2-4 are provided for you to have a deeper understanding on the
importance of exercises in building total fitness and family wellness. The activities
will also allow you to develop, reflect on, rethink, validate, and revise your
understanding of fitness exercises.
Activity 1
Health Perks
You need to understand the health benefits derived from physical activity
before you can successfully design and implement an HRF (Health-Related Fitness)
plan.
Make a report on the health benefits derived from involving oneself in the HRF
activity. Tackle the 4 components: strength, flexibility, endurance and body
composition. Below is a sample:

26
• ideal body type prevent
joint problems and
Body diabetis
Composition • that certain amount of
fat is needed by the
body to function well
• strengthen immunity
Strength
• protection against injury
• improved Heart-Lungs
Endurance functioning
• increase oxygen supply
• improve posture
Flexibility
• decrease risk of injury
After the presentation, it is expected that you will make a generalization on the
importance of engaging in exercises and the drawbacks or disadvantages of lack of
exercise.
Reflection / Realization: Complete the sentences below.
1. Cardio-respiratory endurance can help me
______________________________.
2. ____________________________________ can help me achieve an ideal
BMI.
3. Bending and stretching allow me to
__________________________________.
4. _______________________________________________ strengthen my
body.
5. Therefore I have learned that
________________________________________.
Here are your guides for the oral presentation: (Criteria)

1. Presentation of the HRF health benefits should be addressed clearly.
2. Visual presentation should be well-organized and well-explained.
3. Effective communication skills should be evident.
Well learners, that wasn’t tough, right? This is going to

be easy once you have answered all the questions. Try the next
activity below. This has something to do with the lifestyle check
of your family in terms of the HRF issues. This will help you
understand and evaluate how far or how slow is your family’s
involvement with fitness. Physical Education 8 OHSP Learner’s Material
27
Activity 2
Together in Fitness
Make a scrapbook with pictures of your family showing the progress or

regress of the family’s state of health. To be included in the scrapbook are pictures
of your family’s past HRF activities (sports, exercises, and recreational activities).
The scrapbook should tell a story about family wellness. This activity will help you
assess and understand the state of health of your family.
That was quite enjoyable making your

scrapbook. Scanning over your scrapbook, reflect the
health status of your family. If you have lots of
pictures to show, that would mean your family is
doing great physically.

28
Part IV.
WHAT TO TRANSFER
At this stage you will plan for physical activities for your family which can be
considered as your lifetime engagement to achieve family wellness.
Activity 1
Goal Setting
By this time, it is affirmed that Health-Related Fitness plays a very important role
in your family wellness. Design an HRF plan for your family.
1. Review and assess the output in “Because I Care” by identifying what
particular exercises or physical activities are needed by your family members
to achieve family wellness and to enjoy lifelong good health. Focus on the
HRF activities and exercises. You may choose exercises from the suggested
exercises in “Listen to your Heart”.
Now is the time for you to work on your HRF plan. Setting
of your goals here is crucial to the development of
your HRF plan. Look into the very needs of your
family by referring to the outputs you have on the
previous activities as basis for your plan.
Activity 2
Hit the Target

29
In designing your HRF Plan it must be simple, enjoyable and suited to the
needs your family in order to attain maximum level of physical wellness.
Use the chart found on the next page to plan your activities. Make sure to
include activities for the whole family. Your log should show complete thought and
effort and be as detailed as possible. Below is an example of a fitness plan for your basis.
Suggested plan: Join community Fun Runs, ballroom dancing; assign household
chores and others.

30
Supplementary activity: Family Day
You will submit a narrative report about the actual implementation of the HRF
Plan you have designed. You will also provide proof to support the narrative report
like pictures, video, signatures or thru other media technologies. It is expected that
this implementation will take a while, so you will be given enough time to submit this
narrative report and evidences before the end of the first quarter period.
Assessment of HRF plan for the family using the following criteria:
 Appropriateness of the HRF activities for the family
 Relevance to the needs of the family members
 Completeness of the plan
Bravo, you made it! Things

did turn out well. Did you know that
working on this activity brings you
closer to your family? Remember,
family bonding creates harmony
and understanding at home. So,
this is a great opportunity for you to
experience. Maybe at some point
you have encountered difficulties
but keep in mind, “The more
difficulties one has to encounter,
within and without, the more
significant and the higher in
inspiration his life will be.”
- Horace Bushnell

31
SUMMARY
It is expected that by this time you have already understood the essentials of
health-related fitness and its relation to family wellness. This module has provided
you discussions on the importance of HRF and supplied you with different activities
for you to assess yourself and your family in terms of health-related fitness and
thereby guiding you to design an appropriate HRF plan for your family that will
sustain for life. Furthermore, this module is focused on a wide range of activities that
will help you develop appropriate skills, enables you to understand fitness concepts
and their application, as well as fosters confidence and appreciation of physical
activity as a means to wellness.
Part I gives you a brief recall on the HRF components. It also provides you
with activities to help you strengthen your knowledge on the lesson at hand. A brief
assessment of your family’s daily physical activity habits is also asked of you to later
plan the appropriate activities and exercises that will suit each family member.
Part II enables you to perform and demonstrate the HRF test. The result of
the fitness test is your basis for self-assessment. A table is also provided for you to
list down and assess your family health status that is crucial in designing your family
HRF plan.
Part III provides you with different activities and discussion that can help you
reflect and think deeply on the essentials of health-related fitness. It also talks about
the health benefits of engaging in physical activities and exercises. The activities,
exercises and sports introduced in Part III are carefully selected for you to choose
and decide the appropriate HRF activities for you and your family.
Part IV is the final phase of Quarter 1. You are expected to design an

appropriate HRF plan for your family that will sustain a lifelong active lifestyle. Taking
into consideration what you have learned from this chapter and from the activities
provided in Part I-III, you are now equipped to propose an HRF plan.

32
GLOSSARY OF
TERMS
Collage - form of art in which various materials such as photographs and pieces of
paper or fabric are arranged and stuck to a backing.
Fitness – the condition of being physically fit and healthy, especially as a result of
exercise and proper nutrition.
HRF (Health-Related Fitness) - ability to become and stay physically healthy.
Perks – Benefits; privileges; bonuses
Regress - returning to a former state; get worse or fall back to a previous condition.
SRF (Skill-Related Fitness) - focuses on the performance in a sport.
Wellness – the quality or state of being healthy in body and mind, especially as the
result of deliberate effort.
SOURCES:
http://www.state.nj.us/education/frameworks/chpe/chapter8f.pdf 11-28-2012
http://fitness.ygoy.com/2010/05/29/health-related-fitness-activities-importance-and-different-types/ 11-28-2012
http://www.commonhealth.virginia.gov/documents/hf/AllTogetherNow.pdf 11-28-2012
http://depedmarikina.ph/resource%20material/DepEd%20Physical%20Fitness%20Test.pdf
http://www.jumpusa.com/agility_slats.html 11-28-2012
http://www.muscleandfitness.com/features/athletes-and-celebrities/your-cheat-sheet-london-2012-summer-
olympics?page=6
http://www.bittersweetfitness.com/cardiovascular-exercise/ 11-28-2012
http://www.hygenicblog.com/2011/07/01/systematic-review-supports-balance-training/ 11-28-2012
http://health.howstuffworks.com/wellness/diet-fitness/exercise/back-strengthening-exercises7.htm 11-28-2012
http://www.stayfitbuzz.com/tag/eat-clean-train-dirty/ 11-28-2012
http://www.amazingfitnesstips.com/easy-muscular-strength-exercises 11-28-2012
http://blog.isowhey.com.au/2012/02/09/how-fit-are-you-test-yourself/ 11-28-2012
http://www.thehealthybackblog.com/wp-content/uploads/2011/06/flexibility-exercises-like-pilates-and-yoga-could-prevent-
treat-stiff-arteries1.jpg 11-28-2012
http://blogs.plos.org/obesitypanacea/2012/02/10/why-the-body-mass-index-bmi-is-a-poor-measure-of-your-health/11-28-
2012
http://dwellingintheword.files.wordpress.com/2010/04/27-teacher.gif 11-28-2012
http://www.kamogatanishi-e.ed.jp/english/clipart/People.htm 11-28-2012
http://www.glencoe.com/sites/common_assets/health_fitness/gln_health_fitness_zone/pdf/heart_rate_monitor_activities/health_skill_re
lated_itness/health_skill_related_fitness_activity_3.pdf, 11-08-12
http://www.doe.virginia.gov/instruction/physed/fitness_testing/fitness_testing_info.pdf, 10-24-12
http://www.sport-fitness-advisor.com/flexibility-exercises.html 11-28-2012
http://www.amazingfitnesstips.com/fitness-for-life
http://www.webmd.com/fitness-exercise/news/20121001/active-video-games-help-some-kids-get-active 11-28-2012
http://www.summitmedicalgroup.com/library/sports_health/strength_training_lower_body/ 11-28-2012
http://www.summitmedicalgroup.com/library/sports_health/strength_training/ 11-28-2012

33
KEY TO CORRECTION
Pre-Test
1. Flexibility
2. Body composition
3. Flexibility
4. Muscle endurance
5. Cardio-vascular endurance
6. Muscular strength and endurance
9. Muscle strength and endurance
10. Body composition
PART 1. What to know
Fitness. The words could be in any directions as long as the letters are all inter-
connected. Let them write these words below and define each.
S C E N T E R O W
B T E N D U R A E
O L R V I T A N C
D F L E X I B I L
Y C O M N D Y T I
I S O P O G F Y R
T I O N S P T A G
M A X I M U M H E
My answers: (in any order)
1. Flexibility
2. Body Composition
3. Strength
4. Endurance

34
PHYSICAL EDUCATION Grade 8, Quarter II (Team Sports-Basketball)
Introduction:
This learning material was made for you! For
sure you are now thinking of another textbook or a
ton of quizzes to do, right? This module is different.
It introduces you to the world of team sports. As you
go along, you will encounter activities that allow you
to demonstrate understanding of the benefits
derived from your engagement and participation in
basketball together with your family, which
eventually promote family fitness, health, and
wellness.
Objectives:
 discuss the nature/background of basketball;

 practice proper and acceptable behavior (e.g. fairness, respect for authority) when
participating in basketball;
 proficiently execute basic skills and tactics in basketball;
 interpret rules and regulations of basketball;
 exhibit enjoyment in playing basketball;
 explain the health and fitness benefits derived from playing basketball.
Now that you know where you’re going, let’s start activating your prior
knowledge about team sports.

34
Pre-Assessment:
Before you proceed any further, consider answering the pre-assessment items
below. This may help determine whether you already have prior knowledge on the
terms, skills and understandings in team sports. Read the directions carefully and write
your answers in your activity notebook.
1. Below is a table indicating the basic skills in playing basketball, baseball and
softball. Your task is to identify which sport is appropriate for each of the skills
indicated in the table below.
2. Write the corresponding team sport in the space provided at the right side of the
column for basic skills.
BASKETBALL BASEBALL SOFTBALL
BASIC SKILLS CORRESPONDING TEAM SPORT
1. Dribble
2. Chest Pass
3. Bounce Pass
4. Assist
5. Bat or Batting
6. Pitch
7. Shoot
8. Free Throw
9. Inning
10. Homerun
11. Strike
12. 3-Seconds Violation
13. Home Base
14. Bunt
15. Short Stop
3. Let’s find out whether your answers are correct or not. (refer to the answer key
on page 69)
4. Below are three critical questions prepared for you to answer. Express your
answer in your activity notebook.
a. What do team sports mean to you?

35
b. What values or virtues can team sports develop in you?
c. What benefits can you derive from participating in team sports?
I can see that you know something about team sports. This time let’s draw your
goals and targets as regards team sports by accomplishing the task ahead.
Goals and Targets:
This time, focus your attention on the team sports engagement

survey form. This will assess your engagement in team sports which will
serve as your reference in identifying your personal goals and targets.
Here are your tasks:
1. Copy the survey form in your activity notebook and reflect on your participation in
team sports by honestly responding to the survey questionnaire below.
2. Just put a checkmark (  ) in the corresponding column below the sport for your
responses. It’s quite easy, right? So go on, grab a pen and accomplish the
questionnaire.

36
SURVEY QUESTIONS BASKETBALL BASEBALL SOFTBALL
YES NO YES NO YES NO
1. Do you have experience in playing team
sports?
2. Do you play team sports often?
3. Do you play team sports with friends?
4. Do you play team sports with your family?
5. Are you a member of the school varsity team?
6. Do you participate in community sports
programs?
7. Do you enjoy participating in team sports?
8. Do you consider the benefits derived from
playing team sports?
9. Are there team sports enthusiasts in your
family?
10. Do you plan to make team sports as one of
your lifetime fitness activities?
3. When you’re done with the preceding task, state in your activity notebook your
targets/goals on involving yourself, your family and community in team sports
programs. An example is hereby given:
Example:
Personal Goal/Target: I will make team sports my lifetime fitness activity.
Family Goal/Target: I will share my knowledge and skills in team sports with my
siblings, father, and mother so we can enjoy the benefits of
playing/participating in it.
Community Goal/Target: I will actively particpate in community team sports activities.
“A journey of a thousand miles begins with a single step.” It’s now time for you
to start achieving your goals and targets by accomplishing the given tasks , one at a time.
I know you can do it!

37
PART I: WHAT TO KNOW
Welcome to Part I of your lessons in Basketball! In

this phase of the learning sequence, you will be given
activities to activate your prior knowledge and to know the
key concepts of the lesson at hand. You will also exhibit
tentative responses through provocative and critical
questions; identify misconceptions and alternative
conceptions about the lesson based on your responses; be
informed of the assessment techniques corresponding to
your tasks; be provided with the necessary information you
need to learn about team sports, specifically Basketball.
You can assess your knowledge by answering the given
focus questions at the end of this part of the lesson.
Activity 1: Fill-in the missing component
In this activity, your prior knowledge on specific team sports will be diagnosed and
pre-assessed.

1. Below is a table indicating three columns namely: team sports, basic skills and
components of physical fitness involved in performing the basic skills. Copy the
table in your activity notebook.
2. The team sports at the first column have already been provided together with the
respective basic skills. All you have to do is to identify the component of physical
fitness involved in performing the respective skills. Write your answers in the
given column.

38
Name: __________________________ Section:___________________________
TEAM SPORTS BASIC SKILLS Component of Physical Fitness Involved
Basketball: 1. Shooting
2. Passing
3. Dribbling
4. Rebounding
5. Running
Baseball/Softball 1. Throwing
2. Catching
3. Pitching
4. Batting
5. Base Running
Always bear in mind that improving your physical fitness together with your
family is the main goal of participating in team sports. Keep it up as you go to the
specific team sport that you intend to master in this next activity.
Activity 2. The team sport that I would like to know more

This activity allows you to share your knowledge about team sports which brings
out your expectations of the lesson, your prior knowledge and skills, and the specific
team sport you want to learn more.

1. Below is a K-W-L chart. Under K column, write three things that you already
know about your chosen team sport. Under W column, write three things that
you want to know more about. Don’t write anything yet on the L column. Do this
in your activity notebook.

39
Name: _______________________________ Chosen Team Sport:______________
K-What you KNOW W-What you WANT to know L-What you’ve LEARNED
1. 1. 1.
2. 2. 2.
3. 3. 3.
2. After accomplishing this task, share the things you KNOW and the things you
WANT to KNOW to the friends, relatives and members of your family.
So much to expect and do, yet so little time. After sharing your expectations and
things you want to know, you also need to know what is expected of you at the end of
your lessons.
Activity 3. Can You Meet My Expectations?
This time, you need to clarify what is expected of you in terms of products and
performance, including how these shall be assessed and rated at the end of the lesson.
1. At the end of all your lessons, the following are the expected outputs for you to
accomplish:
a. Product:
Create a journal containing pictures of your family showing your

engagement in team sports. Indicate dates, places and short description
(caption) of each picture including a final essay talking about the benefits that
your family derived from engaging in team sports.
If you find it difficult to gather said pictures, you may come up with a
collection of cut-out magazine pictures of families engaged in team sports. As
you include these these pictures or cut-outs on your journal, you may include
captions or essays that clarify your ideas about the quote: “The family that
plays together, lives longer!”

40
Criteria for Assessment:
Content/relevance of pictures presented 30%
Creativity and resourcefulness of presentation 30%
Understanding (benefits of team sports to family fitness and wellness) 40%
b. Performance:
Demonstrate your understanding of team sports by executing proficiently the

skills and basic rules in playing basketball by your actual participation in a game. This
will be done through a mini-tournament within your class.
. Criteria for Assessment:

Proficiency in the execution of skills in the team sport
Ability to adapt or use skills to certain sport situations
Behavior in playing team spSort
Now that you know what to produce and perform as evidence d by your learning
at the end of your lessons, here’s another challenge for you to think about.
Activity 4: Points to Ponder
This activity will help you form tentative understandings of the succeeding lessons.
You will be shown video clips and be given questions to answer.This will be done during
your contact time with your teacher.
Questions to answer:
Based on the video clips you’ve seen and from your experiences regarding team
sports, answer the following questions. Write your answers in your activity notebook.
What is your favorite Who influenced or Do you think playing

team sport? Why? motivated you to choose team sports can promote
such team sport to play? fitness, health, and
How? wellness among family
____________________ ____________________ members? How?
____________________ ____________________ ____________________
____________________ ____________________ ____________________
____________________ ____________________ ____________________
____________________ ____________________ ____________________
____________________ ____________________ ____________________
____________________ ____________________ ____________________
41 ____________________
____________________
____________________
Give your reaction or idea What other physical, emotional,
regarding this quote: “ In sports, it’s not mental and social benefits can you
winning that matters most, it’s how you derive from playing team sports?
play the game.”
_______________________________ ________________________________
_______________________________ ________________________________
_______________________________ ________________________________
_______________________________ ________________________________
_______________________________ ________________________________
Since you chose basketball along with the benefits you can derive from
participating in it, the next activity will share you more about this particular team sport.
Activity 5: Lecture-Discussion
A copy of the lecture on basketball is attached in Appendices A-D for your

reading. Read them carefully for you to be able to answer the questions which will be
given later to assess your knowledge on the following contents:
- Nature and background of basketball

- Basic skills
- Facilities, equipment and playing attire and shoes
- Basic rules and officiating (Violations and misconduct)
This time, test your retention on the lecture given. Here’s an activity you will
surely enjoy with your friends, classmates and/or family.
Activity 6: Pick-Shoot and Answer!

42
In this activity, you can use strips of paper containing questions regarding
basketball. Read each question, think of the answer and write it in your activity
notebook.You can do this with your friends or relatives.
1. Form 4 groups.
2. Each group will be provided with a bowl containing numbered paper strips with
written questions related to basketball. The groups will assemble in columns
facing the wall about three meters away. The bowl of questions in front and a
basket near the wall about three meters away.
3. As the “go” signal is given, the first member of each group picks up a strip of
question to answer. Within 10 seconds, he/she answers the question , then
crumples the strip and shoot it in the basket provided per group.
4. After shooting, the first members write their answers on a sheet of paper.
5. The group with the most number of correct answers and successful shots
combined, wins the game.
So much for enjoyment! You now proceed to a more challenging activity. Your
knowledge on basketball and team sports in general will be assessed and rated.
Activity 7: Assessment of Knowledge

Now, let’s see if you really read the lecture given in Appendices A-D. Your
knowledge will be assessed on matters of adequacy and relevance through the
questions hereunder listed. Your score in this activity will be graded and recorded.
Write your answers in your activity notebook.
1. What are the basic skills in playing basketball?
2. How does playing basketball develop specific fitness components?
3. Why are rules and regulations essential in playing basketball?
4. What makes basketball an excellent means of enhancing family fitness and

wellness?
5. What values can be fostered as you and your family engage and participate in a
team sport such as basketball?

43
6.
Great job! It’s good that you pay attention to details. Congratulations for passing
the test! I know you can do it again in the next phase of your lessons.
You passed the challenges!

You can now proceed to Part
II of your lessons...
Part II: WHAT TO PROCESS
Congratulations! You’ve made it to this phase! Prepare

yourself, for you will be provided with various learning resources
and learning experiences to enable you to make sense of the
information, develop, rethink, validate, and revise your
understanding of team sports.
Activity 1: By-Station Drill Lessons
This activity will provide an opportunity for you to demonstrate the basic skills
you have learned previously. You will be given five skill stations for you to perform a
paticular skill based on the demonstration given in Activity 1.You can ask the assistance
of your friends, neigbor or relatives who have knowledge on basketball.

44
You will need
 ball
 playing area with a ring and board
 a good pair of playing shoes
Basic skills to be learned are
 Ball Handling
 Footwork
 passing
 Dribbling
 Shooting
Here’s how:
1. Consider the following before starting the activity: proper basketball attire, warm-
up exercises, safety precautions.
2. Proceed to the open ground or basketball, five stations corresponding to each

basic skill will be provided for you. Refer to the drill illustration for guidance.
3. You should pass through each station following the drill lessons on basic skills.
After undergoing the drill lesson in one station, move to the next station so that
you will experience all drill lessons provided.
4. You should do well in this activity because your performance will be rated based
on the criteria set in the rubrics.
5. At the end of the drill lessons, report to your teacher. This time, share your drill
experiences with your teacher.

45
Drill Sequence:
TEAM SPORT Station I Station II Station III Station IV Station V
Basketball Ball Footwork Passing Dribbling Shooting

Handling
Drill Illustration:
Station 4: Dribbling
Start Finish
---------------------------------------------------------------------------------------------------------------------
---------
Station 3: Passing (Chest and Bounce Pass)
Chest Pass
Station 5:
Shooting Area
Bounce Pass
Station 1:
Ball Handling
-------------------------------------------------------------------------------------------------------------------------
Back Pedal Station 2:
Footwork
Lateral Carioca
High Knees
How well did you perform the tasks-at-hand?
You must be tired after the drill lessons! But before you proceed to your next
Basketball challenge, let’s check if you have done well with the given activities. Copy
the self-assessment tool table as shown, and perform the given instructions.
Just put a checkmark ( ∕ ) in the colum corresponding to your response to the

items indicated in the following table based on how well you did in each drill station.
Reflect on the criteria given before you start rating yourself (proficiency in the execution
of skills-40%, ability to follow instructions-30%, and behavior during the drill-30%).

46
SELF-ASSESSMENT TOOL ON BASIC SKILLS IN BASKETBALL
Name: Section: Date:
STATION DRILLS Advanced Proficient Approaching Developing Beginning
Proficiency
Station 1: Ball Handling
Station 2: Footwork
Station 3: Passing
Station 4: Dribbling
Station 5: Shooting
Refer to the rubric indicated at the transfer part of this module for a more accurate self-
assessment.
The following table shows the most crucial aspects of basketball when it comes
to rules and regulations. Be guided accordingly as to how you should play
basketball. Remember, we’re talking of amateur basketball, not of professional
basketball yet, because in professional basketball like in the Philippine Basketball
Association (PBA) or in the National Basketball Association (NBA), rules and
regulations are highly technical.
ASPECTS OF THE GAME THINGS TO CONSIDER

TEAM COMPOSITION 12 Players per team
START OF PLAY Jump ball

DURATION OF THE GAME 10 minute quarter (40 minutes per game)
TIME-OUTS 1 time-out per quarter except in the
last quarter which is 2
SUBSTITUTIONS 5 maximum substitutions per quarter
REGULAR FOULS Blocking foul
Charging/Offensive Foul
Pushing foul
Holding
Illegal Screening
REGULAR VIOLATIONS Goal-tending

Travelling violation
Backing violation
Stepping on the line
Loose ball
Kicking the ball intentionally
Double dribble

47
TIME VIOLATIONS 3-second violation
5-second violation
8-second violation
Shot clock violation (24-second violation)
SERIOUS OFFENSES/MISCONDUCTS Technical foul
Unsportsmanlike foul
Disquilifying foul
OVERTIME In case of tie, 5-minute overtime is given
OFFICIALS OF THE GAME Referee
Umpire
Time keeper
Scorer
Example of Referees Hand Signals:
Your basketball skills are improving! This time let’s see how much you
understood from your participation in the preliminary activities. Here’s an activity for
you to accomplish.
48
Activity 2: Check Your Understanding
In this activity, your understanding of the essence and benefits of participating in

team sports will be assessed. You can present your responses in any form you are
comfortable with. Providing entries into the graphic organizer can be one. You can also
consider other forms of representing your understanding. Do this activity in a separate
sheet of paper or in your notebook.
TEAM SPORT
PHYSICAL BENEFITS EMOTIONAL BENEFITS MENTAL BENEFITS SOCIAL BENEFITS

__________________ ___________________ ____________________ ___________________
__________________ ___________________ ____________________ ___________________
__________________ ___________________ ____________________ ___________________
__________________ ___________________ ____________________ ___________________
Your Basketball skills are improving! This time let’s see how much understanding
you have developed from participating in the preliminary activities. Here’s an activity for
you to accomplish...
You are great!

I believe you can make it
through
the next challenges!

49
Part III. WHAT TO REFLECT AND UNDERSTAND
Let’s go deeper this time! In this phase, you are

provided with other learning resources and learning
experiences for you to enrich, broaden, and refine your
understanding of the lesson.
Activity 1: Learn from the experts!

In this activity, you will be given opportunities to rethink and refine your
understanding of team sports by conducting an interview.
1. You will determine and decide as to who among the home-grown team sports
entthusiasts in your community interest and inspires you and could share
meaningful insights on his or her participation in team sports..Interview atleast 3
sports enthusiasts
2.This serve your guide in conducting an interview.
a. Persons who influenced them to engage in team sports
b. How team sports contributed to their success in life
c. The role of the family in their active participation in team sports
d. Their achievements (winnings, awards, recognitions) in team sports
e. How team sports influenced them as individuals and as members of their
family.
2. After the conduct of interview, answer the following questions:

a. Who among the three sport enthusiasts inspired you most? Why?
b. How did their sharings reinforce or enhance your understanding, belief or
view of team sports?
c. What role did the family play in their success in team sports and in life?
d. Based on the insights shared by the resource persons, what benefits can one
derive from participating in team sports?
3. Answer the foregoing questions above using any of the six facets of
understanding (explanation, interpretation, application, perspective, empathy,
and self-knowledge). Write your answers in your activity notebook.

50
You might have been very much inspired by the information and ides you*ve
gathered. I guess those inpirations may help you in setting your goals for youself,
family, and community as regards your participation in team sports.
Activity 2: Team Sport Goal-Setting
Quite impressive! With this, a “thumbs up” for everyone. Hope you can do the
same in this next activity.
List down your goals as regards your personal, family, and community
involvement in basketball and team sports in general. This activity aims to reaffirm your
commitment in making team sports your lifetime fitness endeavor. The following is an
example of an output on this activity. You are encouraged to have other modes of
presentation employing your creativity and resourcefulness in this challenge. Use
another paper for your output in this activity.
FAMILY GOALS
PERSONAL GOALS 1._________________
1._________________ COMMUNITY GOALS
2. _________________
2. _________________ 1._________________
3._________________
3._________________ 2. _________________
3._________________
Example of Team Sports Goal-Setting Format (Refer to the example of goals or targets
given in page 37 of this guide)

51
Activity 3: Strips and Dunks!
Here’s your final challenge in this part of the lesson. You will accomplish the
K-W-L chart you have started in Part I of the learning sequence. You will be tasked to
share three things you have learned from participating in basketball and in team sports
in general. After accomplishing this, share what you have written with your class,
friends, or relatives then dunk your paper on the basket provided by your teacher.
Sounds exciting? Let’s do this!
Name: Section:
1. 1. 1.
2. 2. 2.
3. 3. 3.
Now that you know that participating and engaging in team sports may enhance
not just your personal fitness, health and wellness but also that of your family. It‘s high
time for you to grab a ball, call your friends or family and play basketball!
You are unbelievable! But

you will impress me more if
you can make it through
the next level.

52
Part IV. WHAT TO TRANSFER
Finally, you’ve made it! This is now your chance to

show everyone that you can proiciently demonstrate the
different skills in basketball as you play with your
classmates. After playing, your task of accomplishing your
final product is up next! Don’t waste this opportunity
because there are no second chances! Your performance
and product will be graded according to the criteria for
assessment as shown given in this activity.
Activity 1: Team sports family journal
This activity will encourage you to involve your family in playing team sports. This is
a form of fitness activity that requires preparing a documentary of your family’s
engagement in team sports.
You will need
 photographs of you and your family engaging in team sports

 coloring materials
 folders or card boards and other similar materials
 Writing or printing materials
 adhesives or glues
 anything good for collage like recyclable materials as in old magazines
 computer (with any of these software applications: movie-maker, photoshop,
powerpoint, nero, etc.)
 camera
 blank CD/s
 Uniqueness and originality

This includes the family’s unique way of scheduling or programming team sports
activities including the kind of team sport they play and how they are captured in
pictures or videos.

53
 Creativity and resourcefulness
This involves the use of less expensive materials such as indigenous or
recyclable ones with a touch of the learner’s creativity and craftmanship in putting
together the artistic elements like color, line, texture, harmony, balance, and
proportion.
 Deep understanding of the benefits derived from participating in team

sports
This defines the learner’s understanding of the essence of team sports as shown
through pictures and/or videos relative to the team sport/s participated by the
learner.
 Involving the family in team sports endeavors

Strong evidence that the learner’s family is really involved in any fitness
endeavor related to team sports.
Here’s how you will accomplish the activity:
1. Gather some pictures or videos of your family’s team sports activities. Prepare a
documentary by organizing them in a portfolio or scrapbook or any other
presentation you wish to do. You are also encouraged to have it digitally
presented (videograph, powerpoint presentation, movie-maker presentation and
other similar media).
2. Put descriptions or captions for each documented activity. Your descriptions or

captions may include the team sport played, date and place it was taken, and the
like.
3. The last page or final slide, in case you prefer digital presentation, should include
your insights gained from participating in basketball and team sports in general.
Mention also the benefits that you and your family as a whole have gained from
engaging in it.
4. Your uniqueness, imagination, creativity, and resourcefulness will be challenged

through this activity so don’t waste your chance. Go and start your masterpiece!
5. In case you have difficulty in finding or gathering your family’s pictures in their
engagement in team sports, look for pictures of families engaging and
participating in team sports in magazines, newspapers or pamphlets. Cut them
out, organize, and paste them on a clean bondpaper or colored paper. Put
captions on these pictures which may include the benefits that your family
derives from participating in team sports.

54
You did well in the team sports family journal! Good job! The next activity will
reveal your deeper understanding of what team sports are all about as you play, observing
the rules and regulations of the game.
Activity 2: Mini-Team Sport Tournament
This activity aims to let you synthesize and apply what you have theoretically
and practically learned in the previous phases of the learning sequence. Decision
making, critical thinking, and sportsmanship will be revealed and developed. Your
performance during this activity will be rated according to the following criteria:
appropriateness of skills, execution of skills and behavior during performance.
You will need
 ball
 playing area with a ring and board
 partner or group
 proper playing outfit
 whistle, score sheet, stop watch, score board, chalk, buzzer/bell
Skills to be demonstrated are

 Offensive skills
 Defensive skills
 Proper interpretation of the rules
 Proper behavior while playing
1. Group yourselves into three. Groups 1 and 2 will play first; group 3 officiates the
game. Rotation will be made so that all groups will be able to play and officiate.
Make sure that participation among your teammates is maximized. You may
consider a quarter of 8 minutes only to allow rotation of roles among all groups in
your class. Here is the schedule of games and officials:
Game 1 Group 1 vs. Group 2 Officials: Group 3


55
HERE’S HOW YOUR PART II-IV PERFORMANCES ARE ASSESSED
Weight Proficiency in the Execution Ability to Adapt a Skill to a Behavior in Playing Team Sport
of Skills Certain Sport Situation
30% 40% 30%
MASTERFUL: Able to use SKILLFUL: Demonstrates MATURE: Highly disciplined and
5 knowledge and skills powerful and skillful execution able to demonstrate appropriate
automatically, effectively, and of the game skills with high behavior towards the game,
efficiently in diverse game level of confidence players, and game officials
situations
SKILLED: Able to use COMPETENT: Demonstrates SENSITIVE: Disciplined and able to
4 knowledge and skills competently the game skills demonstrate appropriate behavior
competently in diverse game with confidenceu towards the game, players, and
situations game officials
ABLE: Has limited but growing PRACTITIONER: Demonstrates AWARE: Generally demonstrates
ability to use knowledge and general level of coordination proper behavior towards the game,
3 skills in diverse game and competence in the players, and game officials
situations execution of game skills with
limited but growing confidence
APPRENTICE: Relies on a APPRENTICE: Demonstrates DECENTERING: Has some capacity
2 limited repertoire of limited coordination and for self-discipline but is still limited
knowledge and skills; has competence in the execution of to own reactions and attitudes
limited use of judgment and game skills with low level of towards the game, players, and
responsiveness to game confidence game officials
situations
NOVICE: Can perform only NOVICE: Has very low or no EGOCENTRIC: Has little or no
1 with coaching and relies on coordination in demonstrating consideration to the rules of the
highly directed skill execution, game skills; has very low level game; behaves untowardly and has
procedures and game or no confidence at all no respect for other players, and
approaches game officials
You are not just a future basketball star! You’re also an artist as seen in your team
sports family journal. You have fostered high level of creativity, resourcefulness, and
appreciation of the value of team sports. All of which are essential in becoming a fit and
healthy member of the family.

56
Keep it up! You can
be the next basketball
superstar!!!
SYNTHESIS
Your generation has gone a long way in terms of advancements in science and
technology. Machines, computers, cellphones, and other advanced gadgets are all
around you now. The classroom has been having difficulties in competing with these
modern technologies that, in one way or another, always find oppportunities to divert
your attention from improving yourself, your studies and your family.
Admit it or not, you tend to spend more time with your friends. You try to do what
they do, be what they are and go where they are headed. As your parents struggle
everyday to earn for your daily bread and prepare for your future through sending you to
school, you always find yourself busy with your classmates and friends doing what the
young generation of today do. In fact, you even spend more time with them than with
your family!
No matter how difficult it is for our present educational system to regain your
interest and refocus your attention back to the basics, it still tries its best to come up
with an interactive and engaging way to make you realize that you really need to
maximize your stay in school and prepare you for whatever lies ahead.
This module is one of those ways with which efforts were combined to let you
learn at the same time enjoy playing. As you worked on with the given activities in each
of the four parts of the learning sequence, you were provided with opportunities to
reflect and understand that there’s more in team sports.
Through these activities, you were gradually introduced with the essential
knowledge and skills you needed to learn about team sports. And as expected, you
enjoyed them that much! But those activities did not end up in themselves. Enjoyment
was just the beginning of a bigger and better picture. You were provided with
opportunities to express and demonstrate your understanding of the benefits that you
and your family can derive from engaging and participating in team sports by answering
the mind-extracting and thought-provoking questions given.
You were made to realize that in team sports, individual expertise is highly
appreciated but not at the expense of sacrificing the whole team. You might have been

57
good or even the best, but you still need the team to back you up and make things
happen together. That’s why it’s called team sports after all. Each member plays an
important role in the game. Winning might have been important to you and your team,
but how you played the games was even more essential. Your family with all its
members, including you, is a perfect analogy of team sports. Each is essentially unique
considering their repective roles and areas of expertise but also equally necessary in
scarrying out a fit and healthy family. Each is contributory to the attainment of the
family’s goals and objectives.
As you go out of your class, it is expected that you impart what you have learned
about the essentials of team sports with your friends and more importantly, with your
family. Team sports strengthens your bond as friends and as members of a family.
Cherish every moment as you enjoy playing with those whom you love. Just always
remember, a family that plays together, stays forever and lives longer.
Appendix A (Nature, background and history of Basketball)
NATURE AND BACKGROUND OF BASKETBALL
Basketball is a team sport, wherein the objective is to shoot a ball through a

basket horizontally positioned to score points while following a set of rules. Usually, two
teams of five players play on a marked rectangular court with a basket at each width
end. Basketball is one of the world's most popular and widely viewed sports.
A regulation basketball hoop consists of a rim 18 inches in diameter and 10 feet high
mounted to a backboard. A team can score a field goal by shooting the ball through the
basket during regular play. A field goal scores two points for the shooting team if a
player is touching or closer to the basket than the three-point line, and three points
(known commonly as a 3-pointer or three) if the player is behind the three-point line.
The team with the most points at the end of the game wins, but additional time
(overtime) may be issued when the game ends with a draw. The ball can be advanced
on the court by bouncing it while walking or running (dribbling) or throwing (passing) it to
a team mate. It is a violation to move without dribbling the ball (travelling), to carry it, or
to hold the ball with both hands then resume dribbling (double dribble).
Various violations are generally called "fouls". Disruptive physical contact

(a personal foul) is penalized, and a free throw is usually awarded to an offensive player
if he is fouled while shooting the ball. A technical foul may also be issued when certain
infractions occur, most commonly for unsportsmanlike conduct on the part of a player
or coach. A technical foul gives the opposing team a free throw, and the opposing team
is also retained possession of the ball.
Basketball has evolved many commonly used techniques of shooting, passing,
dribbling, ball handling and footwork, as well as specialized player positions and
offensive and defensive structures (player positioning) and techniques. Typically, the
tallest members of a team will play "center", "power forward" or "small forward"

58
positions, while shorter players or those who possess the best ball handling skills and
speed play "point guard" or "shooting guard".
While competitive basketball is carefully regulated, numerous variations of
basketball have developed for casual play. Competitive basketball is primarily an indoor
sport played on a carefully marked and maintained basketball court, but less regulated
variations are often played outdoors in both inner city and remote areas.
Source: http://en.wikipedia.org/wiki/Basketball
HISTORY
Basketball was invented in December 1891 by the Canadian clergyman,

educator, and physician James Naismith. Naismith introduced the game when he was
an instructor at the Young Men's Christian Association Training School (now Springfield
College) in Springfield, Massachusetts. At the request of his superior, Dr. Luther H.
Gulick, he organized a vigorous recreation suitable for indoor winter play. The game
involved elements of American football, soccer, and hockey, and the first ball used was
a soccer ball. Teams had nine players, and the goals were wooden peach baskets
affixed to the walls. By 1897-1898, teams of five became standard. The game rapidly
spread nationwide and to Canada and other parts of the world, played by both women
and men; it also became a popular informal outdoor game. U.S. servicemen in World
War II (1939-1945) popularized the sport in many other countries.
A number of U.S. colleges adopted the game between about 1893 and 1895. In
1934 the first college games were staged in New York City's Madison Square Garden,
and college basketball began to attract heightened interest. By the 1950s basketball
had become a major college sport, thus paving the way for a growth of interest in
professional basketball.
The first pro league, the National Basketball League, was formed in 1898 to
protect players from exploitation and to promote a less rough game. This league only
lasted five years before disbanding; its demise spawned a number of loosely organized
leagues throughout the northeastern United States. One of the first and greatest pro
teams was the Original Celtics, organized about 1915 in New York City. They played as
many as 150 games a season and dominated basketball until 1936. The Harlem
Globetrotters, founded in 1927, a notable exhibition team, specializes in amusing court
antics and expert ball handling.
In 1949 two subsequent professional leagues, the National Basketball League

(formed in 1937) and the Basketball Association of America (1946) merged to create the
National Basketball Association (NBA). The Boston Celtics, led by their center Bill
Russell, dominated the NBA from the late 1950s through the 1960s. By the 1960s, pro
teams from coast to coast played before crowds of many millions annually. Wilt
Chamberlain, a center for the Los Angeles Lakers, was another leading player during
the era, and his battles with Russell were eagerly anticipated. Kareem Abdul-Jabbar,

59
also a center, came to prominence during the 1970s. Jabbar perfected his famed "sky
hook" shot while playing for the Los Angeles Lakers and dominated the opposition.
The NBA suffered a drop in popularity during the late 1970s, but was
resuscitated, principally through the growing popularity of its most prominent players.
Larry Bird of the Boston Celtics, and Magic Johnson of the Los Angeles Lakers are
credited with injecting excitement into the league in the 1980s through their superior
skills and decade-long rivalry. During the late 1980s Michael Jordan of the Chicago
Bulls rose to stardom and helped the Bulls dominate the NBA during the early 1990s. A
new generation of basketball stars, including Shaquille O'Neal of the Orlando Magic and
Larry Johnson of the Charlotte Hornets, have sustained the NBA's growth in popularity.
In 1959 a Basketball Hall of Fame was founded in Springfield, Massachusetts. Its
rosters include the names of great players, coaches, referees, and people who have
contributed significantly to the development of the game.
Source: http://library.thinkquest.org/10615/no-frames/basketball/history.html
Appendix B. Basic skills in Basketball (How they are properly executed)
Shooting
The 1st basic skill to be learned is shooting. Every basketball player loves to shoot
the ball! The most practiced skill in the game is shooting. Players spend a good deal of
their practice time on shooting drills to improve their skill level. After all, if you can't
shoot - you can't score! So, here’s how you can improve your shooting skills in
basketball:
 Remember BEEF (Balance,Elbow, Elbow, Follow Through) when shooting the

ball.
 Be relaxed and concentrate on the basket.
 Know when you have a good shot and then take it.
 Be in proper balance when shooting the ball.
 Follow through on every shot you take.
 Jump naturally.
 “Up, hang, shoot!” is an easy way to remember this.
 Make sure you have an arc on every shot you take.
 Be relaxed when shooting free throws.
Source: The Form Trainer Arm Band
 Practice all of your shots. The UltimateBasketball
Shooting Device @ yhst-
12654132427.stores.yahoo.net

60
Dribbling
Dribbling in basketball is a skill that you should master. It allows you to move
around the court while you’re in possession of the ball. It is a legal method that allows
you to advance with the ball and make a score as opposed to that of passing it to a
teammate to shoot it for the basket. This move involves bouncing the ball off the floor
with your hands as you cover the floor. This is how it’s done:
 Dribble the ball with hand and use only the tips
of your finger in dribbling it.
 Employ the wrist and the forearm to push
the ball while covering the court.
 Don’t involve the whole hand to avoid losing
control of the ball.
 Don’t keep your fingers in touch with
each other while dribbling.
 Spread your fingers to allow full control
of the ball as it dribbles.
 Dribble the ball in one side of your body
and not right in front.
 While dribbling in one hand, use the other Source: Vector Clip Art Picture of
hand to drive your defender away from a Basketball Player Dribbling the Ball in
the ball. Front ...@ chumpysclipart.com
Passing
Basketball is a team game. By definition, that means

all players are involved with the process of playing the
game and should function as one. One of the primary
skills created to accomplish this is passing. It is a skill that
maximizes the involvement of all player in setting up a play to earn successful shots and
earn points for the whole team. To learn more about passing, read and practice as
instructed below:
 Basically, there are two types of pass: air pass and bounce pass.
Air pass travels between players without hitting the floor.
Bounce pass is thrown to the floor so that
it bounces to the intended receiver.
 Air passes include chest pass-a pass that originates
from the chest to the receiver’s chest level;
and overhead pass-a pass that originates Source: "Extract" 2.7.2 Zone Defence
(This is a Member's Only
from the forehead.With this pass, aim for your Section). Basketball ...
teammate's chin. Don’t bring the ball behind basketballcrazy.fortix.com.au
your head, because it can get stolen and it takes
a split-second longer to throw the pass.

61
 In executing bounce passes, calculate about
3/3 distance from the receiver as the hitting point
so that the ball bounces right to your receiver.
But for better accuracy, you have to experiment
by yourself because the bounce is directly
proportional with how strong the ball hits the floor.
 A good pass is a pass a teammate can catch.

 When passing, step toward your receiver.
 When catching, step toward the pass.
 Like shooting, the ball should have a backspin to it.
This is accomplished by following through on every
pass.
Rebounding
Rebounding is one of the major aspects of the game. It is your ability to jump with
power to gain possession of the ball as it bounces to the rim after a failed shot before it
touches the floor. Just how important is rebounding? Whenever you grab a rebound,
your team gains a chance to shoot again while the other team actually loses it. The
difference is double. So, how to make a good rebound, here’s how...
 Practice good footwork and vertical leap or jumps.
 Anticipate where the ball will land.
 The longer the shot or the harder the rim,
the farther the bounces.
Source: Vector Illustration: Basketball

 When a shooter is a soft shooter, this means rebound blue @ dreamstime.com
he always takes time to put an arc on his shots,

the ball bounces near the ring.
 When a shooter is a hard shooter, this means
there’s a little or no arc on his shots, then the ball
bounces far from the ring.
 Leg power and strong body are needed in
rebounding
that’s why it is essential that strength and power
exercises
should be considered to conditioning your body.

62
Running
Running is one of the basic skills that a basketball player should possess. Because
in this sport, speed defines the best. Whether you’re on the offensive or defensive side
of the game, passing, receiving, shooting or rebounding a ball, you always have to run
in any way possible. Here are some tips for you to improve your running skills:
 Always have a good pair of playing shoes.

 Always do a combination of dynamic stretching
and warm-up activities across the court before
going out to play a game. These exercises have
already been introduced to you when you were
in Grade 7 but in case you have forgotten
them already, here they are:
 Dynamic Stretching
Toe Walk Shuffle

Heel Walk Back Pedal
Inch Walk Jogging
High Knees Carioca
Butt Kicks Jumping jack
Source: Basic Conditioning Drills

for BasketballPlayers @ stack.com

63
Appendix C. Facilities and Equipment in Basketball
A. BASKETBALL COURT
Source: High School / College Basketball Court Dimensions @ apollostemplates.com

64
Court Dimensions
The size of the court depends on the playing level. The size of the court for NBA and
College games is 94 feet long and 50 feet wide. It is smaller for High School and Junior
High.
The Backboard and Rim

The regulation height above the ground for the rim (hoop) is 10 feet, and the rim is 18
inches in diameter. Backboards are six feet wide (72 inches) by 42 inches tall, with the
inner square being 24 inches wide by 18 inches tall.
The Foul Line

For all size courts the 'foul line' is 15 feet in front of the backboard.
The Key
The key is 12 feet wide, and is the same for all basketball courts. The backboard
extends four feet out over the baseline into the key. A half circle of diameter 6 foot
extends from the foul line away from the basket to complete the key.
The 3-Point Line (Arc)

For NBA Basketball Courts the 3 point arc is 22 feet to the center of the rim on the sides
with a straight line extending out 16 feet 9 inches from the baseline. Past those points
the line extends out 23 feet 9 inches from the center of the rim.
Line Markings
All line markings on the floor are two inches wide and can vary in color.
BALL
The basket ball is an inflated sphere with an outer covering.
It is 75 to 78 cm in circumference and weighs 600-650 grams.
It must be made of leather in the official FIBA competitions.
B. BASKET
Also called goal. It is made up of horizontal circular metal rim
With a net hanging from it. It is mounted 3.05 m above floor level.
C. BACKBOARD
The rigid rectangular board behind the rim.
Standard widths are 24”-42”, 44:-48”,60”-72”.
D. SHOES
High-topped shoes

65
Sources:
 http://www.topendsports.com/sport/basketball/equipment.htm
 http://www.livestrong.com/article/376547-what-is-the-size-of-a-basketball
backboard/#ixzz2AHUW4eMI
Appendix D. Officiating Officials/Rules and Regulations of Basketball

THE OFFICIATING STAFF
The makeup of the officiating corps is strictly a matter of choice. The minimum number is
five: a referee, an umpire, a scorer, a timer and a shot-clock operator. In some cases, eight
officials are used in a lineup comprising a referee, two umpires, a shot-clock operator, two
scorers and two timers.
REFEREE IS OFFICIAL IN CHARGE
The reeree is the official that controls the game. He is the one who tosses the ball up for the
center jump at the start of the game and each overtime period. He duties range from
inspecting and approving all equipment before the game's starting time to approving the
final score. In between, the referee is responsible for the notification of each team three
minutes before each half is to begin and deciding matters of disagreement among the
officials. The referee has the power to make decisions on any point not specifically covered
in the rules and even to forfeit the game if necessary.
OFFICIALS CONDUCT GAME
During actual play, there is no practical difference between the referee and umpire(s). They
are equally responsible for the conduct of the game; and, because of the speed of play,
their duties are dictated essentially by their respective positions on the court from moment
to moment. For this reason, the rules specify that no official has the authority to question
decisions made by another official. The officials' control, which begins 30 minutes before
starting time for men and 15 minutes for women and concludes with the referee's approval
of the final score, includes the power to eject from the court any player, coach or team
follower who is guilty of flagrant unsporting conduct. When the referee leaves the confines
of the playing area at the end of the game, the score is final and may not be changed.
As we pointed out earlier, jump balls occur only at the start of the game and all overtimes;
but officials still must concentrate upon throwing the ball up straight. At other times, play
resumes with a throw-in. The team that fails to get the ball after the first center jump will
begin the alternating process.
OFFICIALS' SIGNALS
When a foul occurs, the official is required by the rules to (a) signal the timer to stop the
clock, (b) designate the offender to the scorer and © use his or her fingers to indicate the
number of free throws. When a team is entitled to a throw-in, an official must (a) signal
what caused the ball to become dead, (b) indicate the throw-in spot (except after a goal)
and (c) designate the team entitled to the throw-in.
DUTIES OF SCORERS AND TIMERS
Scorers must (a) record, in numerical order, names and numbers of all players, (b) record
field goals made and free throws made and missed, (c) keep a running summary of points
scored, (d) record fouls called on each player and notify officials when a player-

66
disqualification or bonus-free-throw situation arises, (e) record timeouts and report when a
team' s allotted number has been used, and (f) record when a squad member has been
ejected for fighting. It is the game-clock and shot-clock operators' responsibility to keep
everyone abreast of key factors while carrying out the timing regulations.
Source: http://www.hoopsvibe.com/basketball-training/articles/79171-basketball-rules-officials--their-duties
Glossary of Terms:
Air pass-a pass that travels between players without hitting the floor.
Assist-a pass that subsequently results in a goal being scored.
Back Court-the defensive zone for each team.
Back Pedal-a dynamic stretching exercise which is executed by running backward

wherein the heels are almost touching the buttocks.
Bounce pass-a kind of pass in Basketball wherein the ball is thrown to the floor so that
it bounces to the intended receiver.
Carioca-a dynamic stretching exercise which is the same with that of grapevine step in
dancing. It is executed through a step sideward followed by a cross-step in front, step
sideward and cross-step in rear. It may be done repeatedly. The difference with that of
grapevine is that it is executed with a bounce to achieve the stretching effect.
Chest pass-a pass that originates from the chest to the receiver’s chest level.
Defensive Play-a type of play in team sports particularly in basketball wherein the team
aims at preventing the opponents from shooting the ball or gaining possession of the
ball.
Defensive rebound-a rebound caught by defenders.
Double Team-when two defenders mark one attacker, usually their best player.
Dribbling-a Basketball basic skill that allows you to move around the court while you’re
in possession of the ball. It is a legal method that allows you to advance with the ball
and make a score as opposed to that of passing it to a teammate to shoot it for the
basket. This move involves bouncing the ball off the floor with your hands as you cover
the floor.
Drive-an attacking move at full speed.
Dunk Shot-a spectacular scoring maneuver when a player jumps high, reaches above
the ring, and stuffs the ball down through the hoop.
Foul-an infraction or violation of the rules of a game.

67
Goal-Tending-an illegal play in which a player deflects a ball that is on the downward
path to the basket or that is already on the rim of the basket, carrying the penalty of an
automatic score when committed by the defense or nullifying the field goal when
committed by the offense.
High Knees-a dynamic stretching exercise which is executed by running forward, lifting
the knees until the upper leg is parallel to the ground, toes pointed downward.
Misconduct-an unbecoming behavior of a player contributing to the disturbance or

unusual flow of a game.
Offensive Play-a type of play in team sports particularly in basketball wherein the team
plays in possession of the ball aiming at earning points through shooting.
Overhead pass-a pass that originates from the forehead. With this pass, aim for your
teammate's chin, don’t bring the ball behind your head, because it can get stolen and it
takes a split-second longer to throw the pass.
Passing-Basketball is a team game. By definition, that means all players are involved
with the process of playing the game and should function as one. One of the primary
skills created to accomplish this, is passing. It is a skill that maximizes the involvement
of all player in setting up a play to earn successful shots and earn points for the whole
team.
Rebounding -one of the major aspects of the game. It is your ability to jump with
power to gain possession of the ball as it bounces to the rim after a failed shot
before it touches the floor. Just how important is rebounding? Whenever you grab a
rebound, your team gains a chance to shoot again while the other team
actually loses it.
Referee-the term used to refer to the officiating official in Basketball.
Running-one of the most basic skills that a basketball player should possess. Because
in this sport, speed defines the best. Whether you’re on the offensive or defensive side
of the game, you always have to run in any way possible.
Shooting-this is the act o throwing the ball with an intention of getting into the ring or
basket to earn points. An offensive skill that every basketball player should master to
win a game Though it is the most practiced skill in the game, players should spend a
good deal of their practice time on shooting drills to improve their skill level.
Shuffle-a dynamic stretching exercise which is also called galop. A combination of step
and cut (displace) in one count. It may be done forward, backward and most commonly
sideward with one foot always leading.
Warm-Up Exercises-these are exercises which are composed of static and dynamic
movements intended to gradually increase heart rate at the same time prepare and

68
condition the body to more strenuous physical activities thereby preventing injuries from
happening.
Web Sources:
 www.youth-baketball-tips.com/how-to-shoot-a-basketball.html
 www.youth-baketball-tips.com/how-to-dribble-a-basketball.html
 www.youth-baketball-tips.com/how-to-rebound-a-basketball.html
 www.buzzle.com/articles/how-to-dribble-a-basketball.html
 www.buzzle.com/articles/how-to-pass-a-basketball.html
 www.buzzle.com/articles/how-to-shoot-a-basketball.html
 www.buzzle.com/articles/how-to-run-a-basketball.html
 www.wikihow.com/Become-a-better-Basketball-Shooter
 http://www.youtube.com/watch?v=YIHjdVteO2A&feature=relmfu
 http://www.youtube.com/watch?v=ZNM8e4qReno
 http://www.youtube.com/watch?v=3JS9e06FjmI
 http://www.youtube.com/watch?v=QIxrXFHfGMc

69
KEY TO CORRECTION
PRE-ASSESMENT:
1. Dribble BASKETBALL
2. Chest Pass BASKETBALL
3. Bounce Pass BASKETBALL
4. Assist BASKETBALL
5. Bat or Batting BASEBALL/SOFTBALL
6. Pitch BASEBALL/SOFTBALL
7. Shoot BASKETBALL
8. Free Throw BASKETBALL
9. Inning BASEBALL/SOFTBALL
10. Homerun BASEBALL/SOFTBALL
11. Strike BASEBALL/SOFTBALL
12. 3-Seconds Violation BASKETBALL
13. Home Base BASEBALL/SOFTBALL
14. Bunt BASEBALL
15. Short Stop SOFTBALL

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PHYSICAL EDUCATION
Grade 8
Quarter II
MODULE 2:
BASEBALL/SOFTBALL
Objectives:
At the end of the lesson you should be able to
 discuss the nature and background of baseball/softball;

 explain the health and fitness benefits derived from playing baseball and softball;
 practice proper and acceptable behavior (e.g. fairness, respect for authority) when
participating baseball/softball;.
 execute proficiently the basic skills and tactics in baseball/softball;
 interprets rules and regulations of baseball/softball;
 exhibit enjoyment in playing baseball/softball.

71
Pre-Assessment
Before you proceed any further, you have to pass through the pre-assessment items
below in order to find out whether you already have prior knowledge on the terms, skills
and understanding in team sports. Read the directions carefully and write your answer
in your activity sheet/notebook.
Modified TRUE-FALSE TEST
Write TRUE if the statement is correct. Write FALSE if the statement is incorrect
then change the underlined word or group of words into the right one to make the
statement true.
1. Gripping is a basic skill in baseball/softball which is related to throwing.

2. Catching is an offensive skill in baseball/softball.
3. Nine (9) players compose a team in baseball/softball.
4. Fielding and throwing drills develop throwing accuracy in baseball/softball.
5. An inning is finished after both teams commit two outs in baseball/softball.
6. A batter is out when he/she misses four (4) pitched balls in baseball/softball.
7. Foul ball is a batted fly or ground ball that lands outside the foul line.
8. A free walk is awarded to a batter on the fourth ball.
9. Lead is a term in baseball/softball which is related to running on base.
10. The official in baseball/softball is called referee.
To check whether your answers are correct, refer to answer key on page 111 of this
module.
Welcome to Part I. In this phase of the

lesson, you will be given activities to assess your
prior knowledge and communicate your
expectations; what you want to know, understand,
produce or perform by asking questions and
clarifying misconceptions. You will be taught the
necessary rudiments of baseball/softball and be
informed of the assessment techniques which will be
used to rate your output and performance at the end
of the lesson.
www.fotosearche.com
72
Activity 1: How much do you know about Team Sports?
In this activity, your prior knowledge on specific team sports will be assessed.
Procedure: BASKETBALL BASEBALL SOFTBALL
1. Below is a table indicating the basic skills in playing team sports. Your task is to
identify which of the sports enumerated above does each of the skills indicated in
the table below.
2. Write the corresponding team sport in the space provided in the right side of the
column for basic skills.
1. Dribble
2. Chest Pass
3. Bounce Pass
4. Assist
5. Bat/Batting
6. Pitch
7. Shoot
8. Throw
9. Catch
10. Homerun
11. Strike
12. Balls
13. Home Base
14. Initial Sack
15. Key Stone
3. Find out whether your answers are correct or not. (refer to the answer key
on page 111)
4.It is possible that you have already participated in team sports competitions or
even qualified in inter-school athletic meets. You may share the insights you gained
from participating in such activities. Write your responses in your activity notebook.
5.Below are critical questions for you to strike! Give your ideas as briefly and
concisely as possible in your activity notebook.

73
What do Team
Sports mean to
you? what benefits can you
derived from
partcipating in team
sports?
How do you think can team sports help

you become a better member of your
family?
Great idea! Because of that,

you can now proceed
to the next activity...
Activity 2: The team sport that I would like to know more about
This activity will allow you to share what you know about team sports at the same
time bring out your expectations on the lesson, your prior knowledge and skills, and the
specific team sport you want to learn more about.
Procedure:
1. Below is a K-W-L chart. Under K column, write three things that you already
know about your chosen team sport. Under W column, write three things that
you want to know more about. Don’t write anything yet on the L column.

74
Name: ___________________________ Chosen Team Sport:______________
K-What you KNOW W-What you WANT to L-What you’ve LEARNED
know
1. 1. 1.
2. 2. 2.
3. 3. 3.
2. After accomplishing this task, share the things you KNOW and the things you
WANT to KNOW with friends, relative and neighbors.
Activity 3: Team Sport Engagement Survey

This time you need to fill up a team sport engagement survey form. This will help
assess your engagement in team sports which will serve as a reference for your
planning the sequence of learning activities about team sports.
Procedure:
1. Copy the survey form in your activity notebook and reflect on your participation
in team sports by honestly responding to the survey questionnaire below.

SURVEY QUESTIONS
YES NO YES NO YES NO

1.Have you experience playing team sports?
2. Do you play team sports often?
3. Do you play team sports with friends?
4. Do you play team sports with your family?
5. Are you a member of the school varsity team?
6. Do you participate in community sports
programs?
7. Do you enjoy participating in team sports?
8. Do you consider the benefits derived from
playing team sports?
9. Are there team sports enthusiasts in your
family?
10. Do you plan to make team sports one of your
lifetime fitness activities?

75
2. Just put a checkmark (  ) on the colunm of your corresponding response to
the items indicated in the survey questions. It’s quite easy, right? So go on,
grab a pen and accomplish the questionnaire.
3. Now that you’re done, submit the questionnaire to your teacher during the
face-to-face encouter. The result of the survey may help your teacher in
designing your succeeding activities in team sport
Activity 4. This activity will give you an idea as to what is expected of you at the
end of this lesson.
At the end of all the lesson, the following
is the expected output for you to
accomplish:
Output:
Create a journal containing pictures of your

family showing your engagement in team sports.
Indicate dates, places, and short description
(caption) of each picture including a final essay
Indicators: talking about the benefits that your family derived
 Presented pictures from engaging in team sports.
which are aligned to the
content and of great In case you have a problem of producing
relevance to the lesson pictures where your family is engaging in team
sports, you may have a collection of pictures of
 Showed creativity and family(s) engaging in sports and wellness, and
resourcefulness in the from there, draw your insights or conclusions as to
presentation of their the benefits of a family playing together.
work or output .
Example : Alvin Patrimonio’s Family,
 Showed a very Robert Jaworsky Family
comprehensive and
deep understanding on
the benefits of team
sports to family fitness
and wellness

76
At the end of all the lessons, you are
expected to play an actual
baseball/softball game in a mini
tournament.
Performance:
Demonstrate your understanding of
team sports by executing proficiently the
skills and basic rules in playing .
Indicators:
 Can perform or execute the skills
proficiently/properly
 Can adapt to other sports discipline
and situations by using these skills
 Can maintain his positive manners and
behavior while playing team sport
Activity 5: Lecture/Discussion
A copy of the lecture on baseball and softball is hereby attached through

Appendix A for your reading. Carefully read the lecture for you to be able to answer the
questions which will later be given to assess your knowledge on the following contents:
- Nature and background of baseball/softball

- Facilities and equipment needed
- Proper playing attire/shoes
- Conduct of the game
- Rules and regulations
Activity 6: Pick-pass n’ throw (Assessment of Knowledge)
This activity will assess your knowledge on baseball/softball. It will be easier for
you to answer the given questions below if you have read carefully the lecture attached
in Appendix A.
Directions:
1. You will be given a manila paper and pentel pen.
2. Now, let’s see if you really studied the attached lecture in Appendix A. Your
knowledge will be assessed on matters of adequacy and relevance. Your score
in this activity will be graded and recorded.
77
What are the
Why are rules necessary things to
and strategies be considered in
important in team playing team sports
like
sports?
Baseball/Softball?
How can a specific What makes

team sport like Baseball/Softball an
Baseball/Softball excellent means of
develop teamwork enhancing family
among the fitness and
players? wellness?
Why is playing
Baseball/Softball
necessary in the
promotion of family
fitness and
wellness?
Kudos for passing the task and challenge.

You can proceed to the next part of the
lesson..

78
Congratulations again! You made it
to this phase! Prepare yourself for you will
be provided with various learning resources
and experiences to enable you to
understand and perform better in team
sports.
Activity 1: Baseball/Softball Basics

This activity aims to introduce you to the the basic skills in baseball/softball and
the mechanics on how each skill is properly executed. Read the instructions carefully so
that you will know how the skills are being executed. You will be given a chance to
perform them later. These skills will make you a better baseball/softball player, so what
are you waiting for? Let’s go and play baseball/softball!
In this activity, you will need
 baseball/softball ball and gloves

 baseball/softball playing area or diamond
 partner or group
 body and knee protector
 masks and helmets
Basic skills to be learned
 throwing
 pitching
 catching
 batting
 running or base running

79
Throwing is the most basic skill in
baseball and softball. It allows the team
to prevent their opponents from touching
bases or even earning points or runs.
Style and technique in doing it differ from
player to player.
A. Throwing
To have a good throw in

baseball/softball, you should
consider the elements of grip,
fragmentwind-up, delivery and
follow-through...
Here’s how the elements of throwing are being executed...
Grip
Grip the ball across the seams with your index
and middle finger. The thumb is under the top fingers.
.

80
Wind-up
Raise the throwing arm up and turn the
shoulder in the direction of the throw. The gloved
hand points toward the target. Raise left foot and
place all the weight of the body on the right foot.
Delivery
Make a backward swing with bent elbows;
lean forward in transferring wieght to the left foot
and release the ball.
Follow-through
Point the throwing arm down-forward,

putting the feet parallel in a ready position.
It is important for you to

focus on your target before
you execute the l throw.

81
B. Pitching
Pitching is a skill that puts the
game to play. It is performed by a
pitcher, one of the key players in
baseball/softball who stays at the center
of the playing field called diamond.
To have a good pitch you have

to consider the elements of grip,
wind-up, pivot delivery and follow-
through...

82
Here’s how the elements of pitching are being executed...
Wind-up
Keep the front part of the right foot in

contact with the side of the plate. Shift the weight
to the back leg and take a backward step.
Pivot
Pivot on the ball of the front foot to turn

parallel to the plate. Lift the left foot.
Stride
Take a stride or wide step with your left

foot. Release
Follow-through
After the relase of the ball, continue the

forward motion, with the throwing arm pointing to
the target.

83
C. Catching
This is a defensive skill used to receive

a thrown ball and hold a base runner or batter
from proceeding or preventing them from
earning a point or a run.
In performing this skill, you must consider the following mechanics:
 Hold your glove open and keep a visual on the ball at all times;
 Keep your free hand in front of you and bring it on top of the glove
approaches; and
 Close your hand over the ball the moment it hits inside your glove.
This is an offensive skill used to strike the

D. Hitting/Batting pitched ball using a bat done to advance to the
bases and eventually leading to earning a run or
point.

84
It is important for you to
focus your pitch on your
target before you execute
thel pitch.
In doing this skill, you

must consider the
following: Grip, stance,
stride and swing.
Gripping-use your fingers in gripping the bat and

tighten your grip as ball approaches.
Stance-proper stance includes slightly bending your

knees, feet parallel to the plates in shoulder width
distance and bat tilted at 45 degrees and not
positioned over the shoulder.
Stride-as the ball approaches, stride right foot a

little backward to gain momentum
Swing-after a little stride backward, transfer the

strength generated by the body towards the arms to
bat as it swings parallel to the ground aiming a the
E. ball and directing it to the intended destination.
Running/Base-Running
This is a very important skill

you need to master because it allows
you to advance from one base to the
other with full speed and agility
safely.

85
To condition the body for efficient and effective
running, you must take into consideration the following:
Speed Running-running with speed from one point to

a definite distance. Try getting your time as you run
and improve your speed everytime you do it.
Agility Running-running with a change in position and

direction in the fastest possible speed you can. To
master this, you might as well consider running through
the bases of the diamond. Improve your speed
everytime you do it.
Before the start of any baseball/softball drill lessons,

lead-up or actual game, consider doing a combination
of the following exercises that may help you improve
your running: Shuffle, Back Pedal, Jogging, High
Knees, Carioca, Butt Kicks, Jumping Jacks.

86
1. The table below shows the most crucial aspects of baseball/softball when it
comes to rules and regulations. Be guided accordingly as to how you should play
baseball/softball. Remember, we’re talking of amateur baseball/softball, not of
professional baseball/softball yet, because in professional baseball/softball like in
International Baseball Federation (IBF) or Little League Baseball rules and
regulations are highly technical.
ASPECTS OF THE GAME THINGS TO CONSIDER

TEAM COMPOSITION Nine Players per team
(Pitcher, Catcher, 1st Baseman, 2nd
Baseman, 3rd Baseman, Short Stopper,
Right Fielder, Left Fielder, Center Fielder)
START OF PLAY As the Chief Umpire anonunces
“PLAY”/Toss-coin (whichever team wins the
toss-coin, that team decides whether they
start with offense or defense play)
DURATION OF THE GAME Seven Innings
Ball “In” And “Out” of play The ball is “ in play” if it batted and lands on
safe zone or within the 90-degree foul line;
it’s out of play if it lands outside the safe
zone or outside the foul line
TIME-OUTS
SUBSTITUTIONS Two substitutions per inning (in case of

injuries or upon decision of the coach in
case substitution is needed for a better play)
REGULAR FOULS/VIOLATIONS Batter unable to strike pitched ball in strike
zone (strike is awarded); three strikes results
to an “out”, next batter resumes; three outs
results to change of play/inning;
Base-runner/s unable to reach base and

tagged; batted ball is caught before it hits
the ground
SERIOUS OFFENSES/MISCONDUCTS Assault to an opposing player
Disrespect to officials
OVERTIME One inning is given to each team in case of
tie
OFFICIALS OF THE GAME Chief umpire
1st base umpire
2nd base umpire
3rd base umpire
Scorer
Time-keeper (in case innings are timed)

87
You are encouraged
to make the best of your
performance in this activities
because your performance
will be rated and recorded.
Activity 2: Baseball/Softball Developmental Activities

(Bass-on-balls/Zigzag throw-catch/Throw Baseball/Softball)
In this activity, you are going to execute the basic skills in

baseball/softball.Baseball for men and softball for women.
You are going to report to school because you cannot do it in your home.
You will need
 baseball/softball balls
 playing area (Official/Improvised diamond)
 gloves
 bat
 protective gears (mask, sheen guards, body protectors)
 proper playing outfit with a good pair of playing shoes
Skills to be learned:
 throwing
 catching
 pitching
 batting
 running
 basic rules and basic officiating

88
Procedure:
1. Form 3 group, group 1 will start with “base on balls”, group 2 will proceed with
zigzag throw-catch drill, and group 3 will start with throw baseball
2. Carefully observe carefully the mechanics of the activity to guide your group on
what to do at the course of the activity. You have to be reminded that the
performance of the group determines the success of the drill.
3. Rotation shall follow after each group finishes the drill so that every group will
also experience the playing in the other drill/lead-up stations.
Reminder: Consider orienting learners on the following before starting the

activity: proper attire, warm-up exercises, safety precautions
Drill Matrix:
GROUP ACTIVITY
PHASES Group I Group II Group III
I Base on balls Zigzag throw-catch drill Throw baseball/softball
II Throw baseball/softball Base on balls Zigzag throw-catch drill
III Zigzag throw-catch drill Throw baseball/softball Base on balls
Drill illustration:
Station 1: Base on Balls
Pitcher/Catchers
Batter-Runner

89
Mechanics:
 Players: 6-8 players in a team

 Equipment: baseballs/softbals, gloves, bat
 Area: Playground or gymnasium (with official or improvised bases)
 Skills:Throwing catching, batting and base-running
 Procedure: The objective is for the batter to hit the ball into fair territory and run
the bases without stopping, before the catcher gains possession of the ball and
calls “STOP!” The fielders, instead of playing regular baseball/softball rules,
throws the ball directly at home to the catcher. There are no outs. A caught fly
ball would mean no score. A fly ball would count as a turn at bat. After each
batter has had turn to bat, side changes.
 Scoring: One point is scored for each base touched before the catcher receives
the ball at home. A home run counts for four points. The team that earn higher
score after 2 side changes or innings wins.
 Variations: (1) Use batting tee. (2) Have the batter throw the ball into the field
instead of batting it. (3) Use a pitcher. (4) Instead of having the fielders throw the
ball to the catcher, let them throw it to the pitcher who must pitch a “strike” to stop
the batter from running. Use a different pitcher for each batter. (5) specify the
number of throws per relay
Station 2: Zigzag Throw-Catch Drill
Throw-Catch Side
X X X X X
Catch-Throw Side

90
Mechanics:
 Players: 6-8 per side; 12-14 per team

 Equipment Needed: Gloves, baseball/softball balls/improvised balls
 Area: Playground or any open space (30 feet or more between lines)
 Skills: Throwing, catching, ;pitching
 Procedure: The objective is for the team to throw or pitch the ball through a
zigzag pattern in the shortest time. Each team is divided evenly into two lines
facing each other. The first person in one line throws the ball across to the first
person in the other line who throws the ball to the second in line, and so on down
the line. When the person at the end of the line receives the ball, he or she
throws diagonally to the first person in the other line and then goes to the head of
his/her own line This continues until everyone is back in his original position.
 Scoring: the team which records the shortest time upon accomplishing the
activity wins the game.
 Variations: Use underhand or overhead and side throwing

91
Station 3: Throw Baseball/Softball
Catcher/
Fielder
Catcher-thrower-runner
Mechanics:
 Players: 6-8 per team.

 Equipment Needed: Gloves, baseball/softball balls/improvised balls
 Area: Playground or any open space with an official or improvised
baseball/softball diamond
 Skills: Throwing, catching, fielding and base-running
 Procedure: The objective is for the batter to run the bases without being out.
The game is played like baseball/softball except that the batter, instead of batting
the ball, catches the pitched ball and immediately throws it into the field. The ball
is, then played as in regular baseball/softball. The batter is allowed only one
throw per time at- bat. If he/she drops a ball in the strike zone, he/she is out. A
foul ball is an out. There’s no stealing. Upon reaching three outs, the game
changes sides. The game ends after 2-3 game changes or innings.
 Scoring: One point is scorred for each run. The team that earns higher points
wins the game
 Variations: (1) Have the batter use an under-the-leg throw. (2) Use an
underhand throw. (3) Use a batting t

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Assess for process in this activity.
Criteria for Assessement: On Skill Execution
Proficient execution of the skills 40% 40%

Can follow /understand instructions 30% 30%
Can/manifest positive /behavior
while playing team sports 40%
____
100%
Activity 3: Checking Your Understanding

In this activity, your understanding of the essence and benefits of participating in
team sports will be assessed. You can present your responses in any form you are
comfortable with. Do this activity in a separate sheet of paper or even in your activity
notebook.
Examples:
 Reaction or position paper

 poster and slogan
 essay
 drawing
Let’s go deeper and deeper this

time! In this phase, you are provided
with other learning resources and
learning experiences for you to
enrich/broaden your understanding of
the lesson.

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Activity 1.: How Good is your Aim if you wont pull the Trigger “
You will list down your goals as regards your personal, family, and community
involve basetball/softball) or team sports in general. This aims to reaffirm your
commitment in making team sports your lifetime fitness endeavor. The following is an
example of an output on this activity. You are encouraged to have other modes of
presentation employing your creativity and resourcefulness in this challenge.
PERSONAL GOALS: FAMILY GOALS:

________________ ______________________
________________ ______________________
________________ _____________________
COMMUNITY GOALS:
______________________
______________________
_____________________
Activity 3: What have I learned?
Here’s your final challnge in this part of the lesson, you will accomplish the K-W-L
chart you have started accomplishing in Part I of the learning sequence. You will be
tasked to share three things you have learned from participating in baseball and softball
and in team sports in general.
1. 1. 1.
2. 2. 2.
3. 3. 3.

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Finally, you have made it to this
part! This is now your chance to show
enveryone that you can demonstrate the
different skills in baseball/softballl as you
play with your classmates/family/friends.
After playing, your task of accomplishing
your final product is up next! Don’t waste
this opportunity because there are no
second chances! Your performance and
product will be graded accordingly to the
given criteria.
Activity 1: Mini-Team Sport Tournament (Assessment of Performance)
This activity aims to finally let you synthesize and apply what you have
theoretically and practically learned in the previous phases of the learning sequence.
Decision making, critical thinking and sportsmanship will be revealed and developed.
Your performance during this activity will be rated according to the following criteria:
Appropriateness of Skills, Execution of Skills and Behavior during Performance.
You will need:
 baseball and softball balls

 diamond and playing area
 teams or groups
 proper playing outfit
 score sheet
Skills to be demonstrated:
 batting
 throwing and catching
 base running
 postive manners and behavior while playing
 execution of other offensive and defensive skills
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Procedure;
1. Form three groups.Group 1 and 2 will play first; group 3 officiates the game.
Rotation will be made so that all groups will be able to play and officiate. Make
sure that participation among your teammates be maximized. You may consider
a quarter of 8 minutes only to allow rotation of roles among all 3 groups in your
class. Here is the schedule of games and officials:
Game 1 Group 1 Vs. Group 2 Officials: Group 3

HERE’S HOW YOUR PERFORMANCE WILL BE ASSESSED IN THIS ACTIVITY
Proficiency in the Execution Ability to Adapt a Skill to a Behavior in Playing Team Sport
of Skills Certain Sport Situation
Weight 30% 40% 30%
MASTERFUL: Able to use SKILLFUL: Demonstrates MATURE: Highly disciplined and
5 knowledge and skills powerful and skillful execution able to demonstrate
automatically, effectively and of the game skills with high appropriate behavior towards
efficiently in diverse game level of confidence the game, players and game
situations officials
SKILLED:Completely able to COMPETENT: Demonstrates SENSITIVE: Disciplined and able
4 use knowledge and skills in the game skills with confidence to demonstrate appropriate
diverse game situations behavior towards the game,
players and game officials
ABLE: Has limited but PRACTITIONER: Demonstrates AWARE: Generally
growing ability to use general level of coordination demonstrates proper behavior
3 knowledge and skills in and competence in the towards the game, player and
diverse game situations execution of game skills with game officials
limited but growing confidence
APPRENTICE: Relies on a APPRENTICE: Demonstrates DECENTERING: Has some
2 limited repertoire of limited coordination and capacity for self-discipline but is
knowledge and skills; has competence in the execution of still limited to own reactions and
limited use of judgment and game skills, with low level of attitudes towards the game,
responsiveness to game confidence players, and game officials
situations.
NOVICE: Can perform only NOVICE: Has very low or no EGOCENTRIC: Has little or no
1 with coaching and relies on coordination in demonstrating consideration to the rules of the
highly directed skill game skills; has very low level game; behaves untowardly and
execution, procedures and or no confidence at all has no respect for other players
game approaches and game officials

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Activity 2. Team sports family journal (Assessment of Product)
This activity will encourage you to involve your family in playing team sports . This is
a form of fitness activity wherein you prepare a documentary of your family’s
engagement in team sports.
You will need:
 team sports photographs of you and your family

 coloring materials
 folders/card boards, etc.
 writing/printing materials
 adhesives/glues
 anything that could be used for collage, recyclable materials/old magazines)
 computer and computer programs (Movie-maker, Photoshop, Powerpoint, Nero,
etc.)
 camera
 blank CD/s
Skills to be demonstrated:
 Uniqueness and originality

 Creativity and resourcefulness
 Deep understanding of the benefits derived from participating in team sports
 Involving the family in team sports endeavors
Procedure:
1. Gather some pictures or videos of your family’s team sports activities. Prepare a
documentary by organizing them in a portfolio or scrapbook or any other
presentation you wish to do. You are also encouraged to have it digitally
presented (videograph, powerpoint presentation, movie maker presentation,
etc.).
2. Don’t forget to put descriptions or captions in each documented activity. Your

descriptions/captions may include the team sport played, date and place it was
taken and the like.
3. The last page or final slide, in case you prefer digital presentation, should include
your insights gained from participating in baseballor softball and team sports in
general and the benefits that the learner and the family as a whole gained from
engaging in it.
4. Your uniqueness, creativity,and resourcefulness will be challenged through this

activity so don’t waste your chance. Go and start your masterpiece!
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Content and relevance of pictures presented 30%
Creativity, resourcefulness and quality of presentation 30%
Understanding (benefits of team sports to family fitness wellness) 40%
100%
NOTE: In case you have no

family pictures or videos, you
can cut out pictures of well
known/prominent sports icon
then organized it in a portfolio
or scrap/tbook or any other
presentation you wish to do.
APPENDIX A Lecture on baseball and softball
HISTORY OF BASEBALL
The game of baseball is said to have begun in the early 19th century, but that's
just half the truth. The game was played much before but the first baseball clubs were
formed around that time. An Englishman named Alexander Cartwright in the year 1845
devised the first set of rules baseball. In fact, many of the rules listed out then are still
used in the game.
In the early 20th century the concentration was more on hitting the home runs.
Babe Ruth changed the course of the game with his magical abilities to achieve home
runs. It was due to sportsmen like Babe Ruth that baseball achieved the levels of
popularity that it did. The popularity of Babe Ruth also helped in improving the money in
the game, since people just went to watch Babe Ruth in action.
Baseball became a game of strategy and hitting throughout the last part of the
20th century. However, pitching and home run hitting are the baseball benchmarks of
today. Depending on the strength of their bullpens and their home run hitters, baseball
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teams are either big winners or big losers. The one thing that is consistent is that the
cost of admission still continues to rise.
THE GAME
A baseball/softball game is played by two teams who alternate between offense

and defense. There are nine players on each side. The goal is to score more runs than
the opponent, which is achieved by one circuit of four bases that are placed on the
diamond.
THE EQUIPMENT
The defense wears baseball/softball gloves, a leather contraption that fits on the
hand, to catch the ball. A baseball is a white ball roughly three inches in diameter with
red stitching. A softball is roughly twice as big, sometimes yellow (but no softer).
The offense uses a bat, which is made of wood in the professional ranks, and likely
made of aluminum or a metal composite at amateur levels. Almost all softball bats are
aluminum or metal.
THE FIELD
The part of the field closest to the bases is called the infield, and the grassy
farther reaches is called the outfield.
The bases are 90 feet apart on the diamond, closer in children's leagues and softball.
Other fields are variable, and the outfield fences or the amount of “foul territory” - the
amount of ground that borders the field between the long white lines that connect first
base to home plate and third base to home plate – varies from field to field.
DEFENSE: THE POSITIONS
There's a pitcher in the middle of the mound who initiates the action by throwing
the ball toward home plate. The catcher catches the ball if it's not hit. The infielders are
the first baseman, second baseman, shortstop (between second and third base) and the
third baseman. There are three outfielders: The left fielder, center fielder and right
fielder.
THE GAMES
There are nine innings in professional baseball games (sometimes fewer in lower
levels), and each inning is divided in half to the top of the inning (when the visiting team
hits and the home team plays defense) and the bottom of the inning (when the home
team hits and the visiting team plays defense). Each team gets three outs in each half
of the innings.

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ON OFFENSE
Each team has nine players in its batting order, and they must stick to that order
throughout the game (players may substitute in for other players). A play begins with a
batter waiting to hit a pitch from the pitcher. If the batter hits the ball into the field of play,
the batter runs to first base and can run to as many bases as he or she deems fit
without getting "out." If a players hits the ball over the outfield fence in fair territory
(between the foul lines), it's a home run, and the batter can circle all four bases.
ON DEFENSE
There are many ways that the team on defense can get an offensive player out. Four
common ways are:
 Strikeouts (hitter misses three pitches)

 Force outs (when, after the ball is hit, the defensive player with the ball reaches a
base before the runner)
 Fly outs (when a player hits the ball in the air and it's caught by a defensive
player before the ball hits the ground)
 Tag outs (when a runner is touched with the ball, or a glove with the ball in it)
SKILLS IN BASEBALL
Baseball requires a high degree of skill to play well. Athletic ability will help a
player compete with other top players, but the specific skills of hitting, throwing and
catching the baseball require significant work and practice to acquire. Many of the top
hitters in the game don't have a tremendous speed or strength, but they all have a high-
level of eye-hand coordination.
Hitting
Hitters who can drive the ball over the fence, such as Babe Ruth and Hank
Aaron, are lionized, but many hitters who don't hit frequent home runs can be just as
important to their teams. Hitting the ball consistently takes timing, hand-eye coordination
and confidence. These skills are developed through regular batting practice. Hitters
must be balanced when standing at the plate and drive their hands through the ball with
all their strength and momentum behind their swings.
Catching
Catching and fielding the baseball takes athleticism, aggressiveness, timing and
coordination. Fielding ground balls requires the player to get to a spot on the field
quickly, to get his body in front of the ball and to catch it out in front of him. Catching fly
balls takes speed, timing, anticipation and coordination. Fielders need to catch
hundreds of ground balls and fly balls in practice to learn how to field consistently.

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Throwing
Throwing the ball well requires arm strength, balance and timing. Baseball
players must build the strength in their arm by throwing regularly with the proper
technique. That means players must step toward the target when they throw and must
get their momentum traveling toward their target.
Base Running
Having speed alone does not make one a good base runner. Speed helps, but
understanding the route to run, the arm strength of opposing outfielders and the game
situation are more important skills than flat-out speed. A good base runner will listen to
advice from coaches on the base paths, but will make the final decisions whether to run
or stop based on his knowledge.
EQUIPMENT
Gloves
In the beginning baseball players did not wear gloves. Today there are several
different kinds of gloves. The catcher's mitt is big, round, and padded. The first
baseman's mitt is longer than the other fielders' gloves, and an outfielders' glove is
larger than an infielders' glove.
Bases
The first bases used in baseball were four-foot high stakes. Too many players ran into
them and were hurt, so they tried big flat rocks. Players were still being injured, so they
finally filled soft sacks with sand. The modern day bases are made similar to the sand
filled bags.
Safety Gear
The first catchers in baseball did not wear any gear for protection. Today's
players wear a face-mask, helmet, chest protector, shin guards and a cup. In 1952, the
Pittsburgh Pirates were the first team to wear helmets. They wore them when they were
batting and when they were playing in the field.
Bats
In the major leagues, only wooden bats are used. The rules say that the bat can
only be 42 inches long, and can only be 2 3/4 inches in diameter at the thickest point.
White ash is the best wood to use to make a bat. A bat made out of white ash helps
absorb some of the shock when hitting a 90 mile-per-hour pitch.

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Baseballs
All baseballs are made the same size and weight. They are 9 to 9 1/4 inches in
circumference and weigh 5 to 5 1/4 ounces. The center of the baseball is cork. The cork
ball is covered with rubber. Cotton and wool yarn are tightly wound around the cork and
rubber center. 150 yards of cotton yarn (450 feet) and 219 yards of wool yarn (625 feet)
are used to make a baseball.
Baseball Rules & Regulations
Former Chicago White Sox owner Bill Veeck famously said, “I try not to break the
rules but merely to test their elasticity.” A certain amount of rule-bending is likely to exist
in any sport, but no game has a set of rules as well established as baseball, where the
regulations have been virtually unchanged for over a century. For newcomers to
baseball, the following is a brief overview of the game’s essential tenets:
Each team in a baseball game starts nine players. The game is broken up into
innings, during which each team plays both offense and defense. A regulation baseball
game consists of nine innings (many levels of youth baseball, including high school,
play only six- or seven-inning games). An inning starts with the home team on defense
and the away team on offense. The offensive team attempts to score runs, while the
defensive team attempts to record outs.
One inning is completed after each team makes three outs. The team that has
the most total runs after nine innings are completed is the winner. If the score is tied,
play continues, with each extra inning functioning as sudden death.
Positions & Lineups
On defense, the players occupy nine positions. There are five infield positions
(pitcher, catcher, first base, second base, third base, and shortstop), and three outfield
positions (left field, center field, and right field). The diagram to the left shows the typical
defensive alignment on a basic baseball diamond.
On offense, the nine starters form a strategically arranged lineup, which

determines the order in which each player bats. Many baseball organizations allow the
use of a designated hitter. This means that one player who is not among the defensive
starters may bat in the place of a defensive player. In many cases, the designated hitter
bats for the pitcher.
The players take turns batting according to the lineup, and once every player has
batted, the order starts over from the top. It is against the rules to bat out of order.
Substitutions may be made at any time, but once a player has been removed from the
game, he cannot return (unless specific league rules allow it).

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Pitching & Defense
In baseball, play starts when the pitcher delivers a pitch. There are two positions
from which a pitcher may start his delivery: The wind-up and the stretch. The wind-up is
typically used with no runners on base, while the stretch is utilized when there are base
runners, because it is a quicker way to make a pitch. The pitcher must be in contact with
the pitcher’s rubber when he throws the ball.
For every at-bat of a game, a “count” is kept in order to keep track of how many
balls and strikes have been thrown (for example, one ball and two strikes, or 1-2). The
strike zone is an area that reaches from the batter’s knees to his chest, and spans the
width of home plate. The home plate umpire determines whether each pitch crossed
through the strike zone, and so strike zones tend to be somewhat subjective. If the
pitcher throws a pitch that misses the strike zone, it is called a ball. If he throws a pitch
inside the strike zone, or if the batter swings and misses, or if the batter hits the ball into
foul territory, it is called a strike.
There are several ways to record an out on defence:
Strike out: After three strikes, the batter is out. However, a batter cannot strike out on a
foul ball. If he hits a foul ball with two strikes, the count remains the same.
Tag out: When the ball is in play, any defensive player may tag a base runner when he
is off the base to record an out.
Catch: If the batter hits a pitched ball in play, and any member of the defense catches it
in the air, then the batter is out. A runner on base may attempt to advance to the next
base once a catch has been made by “tagging up.” However, the runner does so at the
risk of being tagged out.
Force out: If the batter hits a pitched ball in play that is not caught in the air, the
defense may field the ball and touch first base (or more likely, throw it to the first
baseman, who then touches first base) before the batter reaches the base to record the
out. Also, if there are runners on first base, first and second base, or all three bases, the
runners must advance if a batted ball touches the ground (they are “forced”). Therefore,
the defense can tag a base in front of a runner for a force-out. It is possible for the
defense to record multiple force-outs on the same play. This is called a double play.
Scoring
The home plate area consists of home plate, a left-hand batter’s box and right-
hand batter’s box (on separate sides of home plate, and a catcher’s box (directly behind
home plate). The offensive player stands in one of the batter’s boxes, while the catcher
squats down behind home plate, and the umpire stands just behind the catcher.
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In order to score a run, a batter must safely touch all four bases (in a counter-clockwise
direction) and home plate. The player doesn’t need to touch all four bases during one
play. Once he reaches a base, he may choose to stay there, and as long as he stays on
the base he cannot be tagged out. Therefore, in order to score a run, the offensive team
typically must get multiple players on base safely in order to advance them around the
diamond and touch home plate to score a run.
There are several ways that a batter may reach base safely:
Single: The batter hits a pitched ball into fair territory, and the defense is unable to
catch it in the air. If the batter makes it to first base without being tagged with the ball or
before the defense can make a force-play at first base, then the batter is safe with a
single.
Double: The batter hits a pitched ball into fair territory, and the defense is unable to
catch it in the air. If the batter makes it to second base without being tagged with the
ball or before the defense can make a force-play, then the batter is safe with a double.
Triple: The batter hits a pitched ball into fair territory, and the defense is unable to catch
it in the air. If the batter makes it to third base without being tagged with the ball or
before the defense can make a force-play, then the batter is safe with a triple.
Home run: The batter hits a pitched ball into fair territory, and the defense is unable to
catch it in the air. If the batter touches all three bases and makes it to home plate
without being tagged with the ball or before the defense can make a force-play, then the
batter is safe with a home run. In addition, if the batter hits a pitched ball that lands
beyond the designated outfield fence, it is an automatic home run. He is allowed to jog
around the bases and touch home plate, and any runners who were on base are also
allowed to score.
Base on balls: If the pitcher throws four pitches out of the strike zone (as determined
by the home plate umpire) before the batter hits the ball fair or strikes out, then the
batter is awarded first base.
Hit by pitch: If a pitched ball strikes the batter on any part of his body, the batter is
awarded first base (unless an umpire determines that the batter intentionally moved in
order to get hit).
Catcher’s interference: If the batter’s bat makes contact with the catcher while he
attempts to swing at a pitch, the batter is awarded first base.
Defensive error: If the batter is able to safely reach base as the result of a defensive
player’s mistake, then the play is called an error. An error has effectively the same
result as a hit, but officially it is a different type of play.

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Dropped third strike: If a batter swings and misses at a pitched ball for the third strike,
but the catcher drops the ball or it bounces away, the batter may attempt to run to first
base. If the batter reaches first base before the catcher can tag him or make a force-out,
then the batter is safe.
Fielder’s choice: If the batter hits a pitched ball into play, and the defense chooses to
tag or force-out another base runner instead of the batter (thereby allowing the batter to
reach base safely), then it is considered a fielder’s choice. This is a less desirable way
to reach base, because an out is recorded in the process.
SOFTBALL
The name "softball" dates back to 1926. The name was coined by Walter
Hakanson of the YMCA at a meeting of the National Recreation Congress. (In addition
to "indoor baseball", "kitten ball", and "diamond ball", names for the game included
"mush ball", and "pumpkin ball".) The name softball had spread across the United
States by 1930. By the 1930s, similar sports with different rules and names were being
played all over the United States and Canada. The formation of the Joint Rules
Committee on Softball in 1934 standardized the rules and naming throughout the United
States..
The first British women's softball league was established in 1952.
In 1991, women's fast-pitch softball was selected to debut at the 1996 Summer
Olympics. The 1996 Olympics also marked a key era in the introduction of technology in
softball; the IOC funded a landmark biomechanical study on pitching during the games.
In 2002, sixteen-inch slow pitch was written out of the ISF official rules, although it is still
played extensively in the United States under The Amateur Softball Association of
America, or ASA rules.
The 117th meeting of the International Olympic Committee, held in Singapore in July
2005, voted to drop softball and baseball as Olympic sports for the 2012 Summer
Olympic Games.
Other sanctioning bodies of softball are AAU, NSA, PONY, ASA, ISC, USSSA, and ISA.
Equipments of softball
Equipment required in softball includes a ball, a bat, gloves, uniforms and

protective gear: for example, helmets for the offensive team and a helmet, shin guards
and chest protector for the defensive catcher. Also cleats, sliding shorts, face masks
and knee sliders may be worn for softball.
Ball
Despite the sport's name, softballs are not especially soft. The size of the ball
varies according to the classification of play; the permitted circumferences in
international play are 12±0.125 in (30.5±0.3 cm), in weight between 6.25 oz (178 g) and

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7.0 oz (198.4 g) in fast pitch;. A 12-inch circumference ball is generally used in slow
pitch; although in rare cases some leagues (especially recreational leagues) do use a
14-inch circumference ball..
In 2002, high-visibility yellow "optic" covering, long-used for restricted flight balls in co-
ed recreational leagues, became standard for competitive play. Yellow is the color of
official NCAA and NAIA softballs. Yellow softballs are fast becoming the standard for all
levels of play for girls' and women's play in particular. White balls are also allowed, but
are much more common in slow pitch than in fast pitch.
Bat
The bat used by the batter can be made of wood, aluminum, or composite
materials such as carbon fiber. Sizes may vary but they may be no more than 34 inches
(86 cm) long, 2.25 inches (6 cm) in diameter, or 38 oz. (1.2 kilograms) in weight. In fast
pitch softball, wooden bats are not allowed. The standard bat barrel diameter for both
slow-pitch and fast pitch softball is 21⁄4 inches. Many players prefer a smaller barrel,
which reduces weight and allows higher swing speed.
Gloves
All defensive players wear fielding gloves, made of leather or similar material.
Gloves have webbing between the thumb and forefinger, known as the "pocket". The
first baseman and the catcher may wear mitts; mitts are distinguished from gloves in
that they have extra padding, and no fingers. No part of the glove is allowed to be the
same color as that of the ball, including that of its seams. Gloves used in softball are
usually larger than the ones used in baseball. No glove larger than 14" (36 cm) can be
used in ASA sanctioned play..
Protective equipment
A helmet must have two ear flaps, one on each side. Helmets and cages that are
damaged or altered are forbidden. Helmets must be worn by batters and runners in fast
pitch. Helmets are optional in slowpitch. In NCAA fast pitch softball you have the option
to wear a helmet with or without a face mask.. In male fast pitch masks are generally
only used for medical reasons. In fast pitch, the catcher must wear a protective helmet
with a face-mask and throat protector, shin guards and body protector. Shin guards also
protect the kneecap.
In any form of softball, any player (other than fast pitch catchers on defense) can
wear a protective face mask or face guard. As usual, it must be in proper condition and
not damaged, altered, or the like. This is intended to prevent facial injuries.

106
Umpires
Decisions about plays are made by umpires, similar to a referee in American

football. The number of umpires on a given game can range from a minimum of one to a
maximum of seven. There is never more than one "plate umpire"; there can be up to
three "base umpires", and up to a further three umpires positioned in the outfield. Most
fast pitch games use a crew of two umpires (one plate umpire, one base umpire).
The plate umpire often uses an indicator (sometimes called a clicker or counter) to keep
track of the game
Decisions are usually indicated by both the use of hand signals, and by
vocalizing the call. Safe calls are made by signaling with flat hands facing down moving
away from each other, and a verbal call of "safe". Out calls are made by raising the right
hand in a clenched fist, with a verbal call of "out". Strikes are called by the plate umpire,
who uses the same motion as the out call with a verbal call of "strike". Balls are only
called verbally, with no hand gesture. The umpire also has the option of not saying
anything on a ball. It is understood that when he stands up, the pitch was not a strike.
Foul balls are called by extending both arms up in the air with a verbal call of "foul ball",
while fair balls are indicated only by pointing towards fair territory with no verbal call. No
signal is given for balls that are obviously foul and for closer calls that are not
borderline; a mere acknowledgement signal is given.
All decisions made by the umpire(s) are considered to be final. Only decisions
where a rule might have been misinterpreted are considered to be protestable. At some
tournaments there might be a rules interpreter or Tournament Chief Umpire (TCU) (also
known as the Umpire In Chief, or UIC) available to pass judgment on such protests, but
it is usually up to the league or association involved to decide if the protest would be
upheld. Protests are never allowed on what are considered "judgment calls" – balls,
strikes, and fouls.
Pitching
Play begins with the umpire saying "Play Ball". After the batter is ready and all
fielders (except the catcher) are in fair territory, the pitcher stands at the pitching plate
and attempts to throw the ball past the batter to the catcher behind home plate. The
throw, or pitch, must be made with an underarm motion often called the "windmill"
motion: the ball must be released below the hip when the hand is no farther from the hip
than the elbow to get it in the strike zone.
Batters
The batter stands facing the pitcher inside a "batter's box" (there is one on each
side of the plate to compensate for either right or left handed batters). The bat is held
with both hands, over the shoulder, and away from the pitcher (90 degree angle). The
ball is usually hit with a full swinging motion in which the bat may move through more

107
than 360 degrees. The batter usually steps forward with the front foot, the body weight
shifts forward, as the batter simultaneously swings the bat. When swinging, the back
foot should look like it is squishing a bug. A bunt (baseball) is another form of batting.
There are different types, including a [sacrifice bunt], or [slap bunt]. There is also regular
slapping in which a batter takes position on the left side of the plate and usually stands
in the back of the box, but it is possible form anywhere. Once the ball is hit into fair
territory the runner must try to advance to first base or beyond. While running to first
base, the batter is a "batter-runner". When she safely reaches first she becomes a
"base-runner" or "runner".
A batted ball hit high in the air is a "fly ball". A fly ball hit upward at an angle
greater than 45 degrees is a "pop fly". A batted ball driven in the air through the infield
at a height at which an infielder could play it if in the right position is a "line drive". A
batted ball which hits the ground within the diamond is a "ground ball". If a batted ball
hits a player or a base, it is considered to have hit the ground.
Pitcher
The pitcher is the individual who throws the ball from the middle of the diamond
or the pitcher's mound. In baseball, the mound is elevated, but in softball the mound is
not elevated. The pitcher usually throws the ball in the strike zone. In softball, the
pitcher uses an underarm motion to pitch the ball towards the strike zone. As soon as
the pitcher makes a throw, the fielders are ready to field balls that are hit in the middle
of the diamond. Pitchers usually tend to be tall, very flexible and have good upper body
strength. Pitchers can be righthanded or lefthanded. The softball pitcher makes a
windmill motion while throwing under hand. Unlike baseball who throw over hand.
Catcher
The catcher is always behind the hitter in semi-crouched position at home plate. The
catcher recovers pitches from the pitcher. The catcher also throws balls to other bases
to throw out runners. At home plate, the catcher is responsible for making some of the
team's outs by retiring base runners attempting to score. In most games, catchers
provide a visual or finger clue as to what the next pitch should be. Catchers are usually
very strong, agile, think fast and possess fast reflexes. Catchers need a lot of muscle to
make powerful and fast throws. Catchers must block balls on the ground and try to keep
the pitches in front of them in order to prevent a girl from steeling a base. They are one
of the most important players in the game. A good catcher makes the pitcher look good
by framing the pitches (moving balls into the strike zone in order to fool the umpire).
First baseman
The first baseman is the position to the right of the first base. The major role of
the first baseman is to make fielding plays on all balls hit towards first base. The first
base is usually involved in every hit that occurs on the playing field. Individuals at first
base have quick hands, a good reach and are always on the lookout to catch the player
off base. First basemen can be both left and right handed.

108
Second baseman
The second baseman plays in between the first baseman and the gap at second.
If the ball is hit to the left side of the field, second covers second base. If the ball is hit
on their side of the field, they back up the fielder, cover first, or field the ball depending
on where it is hit.The second baseman also is the cut off on balls hit to the right side of
the outfield. The second baseman also throws directly to the catcher to prevent runners
from scoring. Mostly, when the ball is hit to the left side of the field, the second basemen
plays second for shortstop. Also, in the case of a bunt, the second baseman must cover
second as the shortstop runs to cover third base, since the third baseman is running up
for the bunt.
Shortstop
The shortstop fields all balls hit to the infield between the second and third bases.
This individual also helps cover second base, third base and is frequently involved in
force plays, double plays and frequently throws the ball to the catcher to throw out
runners at home plate. On steals to second base (when the runner from first is
advancing to second on the pitch) the shortstop usually covers. The shortstop only
doesn't cover second base when a right handed batter is up. In this case, the second
baseman covers the steal. Most short stops are very quick, agile and think fast. They
are the captain of the infield as is the center fielder of the outfield..
Third baseman
The third baseman covers all hits to the third base and receives balls from the
outfield. The third base person also frequently throws the ball to the catcher trying to
throw out the runner at home plate. The individual at third base usually thinks fast
because of the types of hits that commonly occur in that zone. Quick thinking can often
stop runners from scoring or can result in double plays.
Outfielders
The outfielders are players that cover the grassy area behind the infield.
Outfielders are named for their positions in the field relative to home plate. Traditional
outfield positions include a left fielder, a center fielder, and a right fielder. These players
usually back up the plays made by the infielders and make plays when the ball is hit
past or over the infield. Because their positions cover a greater range than those of
infielders, outfielders tend to have strong throwing arms.

109
Web Sources:
SOFTBALL
http://www.softballperformance.com/softball-history/
http://www.isfsoftball.org/english/rules_standards/rulebook.pdf
http://www.buzzle.com/articles/softball-rules-and-regulations.html
http://www.wiaawi.org/Sports/Softball/RulesRegulations.aspx
BASEBALL
http://en.wikipedia.org/wiki/Baseball
http://www.britannica.com/EBchecked/topic/54751/baseball
http://www.libertyball.com/coachcorner/Baseball%20Handbook.pdf
http://www.infosports.com/zdr/tm/jzm.html
http://en.wikipedia.org/wiki/Baseball_clothing_and_equipment
http://www.baseball-rules.com/basicbb.ht
Bibliography
Cole, Terrence. “‘A Purely American Game’: Indoor Baseball and the Origins of
Softball.” International Journal of the History of the Sport 7.2 (September 1990): 287–
296.
Gems, Gerald R. Windy City Wars: Labor, Leisure, and Sport in the Making of Chicago. 1997.
Garmean, Judith Fay. "A Study Of Attitudes Toward Softball Competition For Women." Santa
Barbara: University if California 1969: 87
Berlage, Gai Ingham. "Women In Baseball: The Forgotten History". London: Greenwood
Publishing 1994:208
Alexander, Charles C. Our Game: An American Baseball History. New York: MJF, 1991.
Bjarkman, Peter C. (2004). Diamonds Around the Globe: The Encyclopedia of International
Baseball. Greenwood.
Alexander, Charles C. Our Game: An American Baseball History. New York: Henry Holt and
Company, 1991.
http://media-cache-ak0.pinimg.com/736x/06/c1/95/06c19533e2ccd69cd1e716e5cdb0368e.jpg
http://cache1.asset-cache.net/xc/148329894-college-softball-player-throwing-photos-
com.jpg?v=1&c=IWSAsset&k=2&d=B53F616F4B95E55356B9553C29DDC3174A79D309B963A0F3
C9CDD99782D4EACCA3DD322FBBA82694
https://tse2.mm.bing.net/th?id=OIP.M0c02b98ee4b5aa08a9e9752eb4f9fee7o0&pid=15.1&P=0&w=300
&h=300
http://cdn0.vox-cdn.com/assets/4632559/evfinch.jpg
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KEY TO CORRECTION
Pre- Assessment:
Answer key.
1. Batting
2. Defensive
3. 12
4. True
5. 3
6. Three(3)
7. True
8. True
9. True
10. Umpire
Activity1 How much do you know about Team Sports?
In this activity, your learners prior knowledge on specfic team sports will be
diagnosed and pre-assessed. Refer to Activity 1 of the learning material. Use the
following to check their answers.
1. Basketball
2. Basketball
3. Basketball
4. Basketball
5. Baseball/Softball
7. Basketball
14. Softball
15. Softball

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QUARTER: 3 INDOOR RECREATIONAL ACTIVITIES
INTRODUCTION
Indoor recreational activities are voluntarily undertaken for pleasure, exercise, relaxation,
and leisure. It is a way of rejuvenating the mind and the body especially when you are caught in
situations such as hectic jobs and routine chores. This is why you have these modules, for you to
indulge in some recreational activities like scrabble, chess, and domino.
Scrabble, chess, and domino are varieties of activities that affect what, when, and how
people recreate including change in lifestyle, family structure/commitments, work demands, and
work-life balance.
Participating in this leisure and recreational activities can foster a range of positive benefits
including
Opportunities for health, well being, and quality lifestyle for the community.
Personal development, expressions, creativity, individuality, social, physical and intellectual,
and close family ties/relationship.

112
INTRODUCTION
Welcome learners’ to word power. This module will provide you an overall outlook on what
you will learn in the game scrabble. Activities will be provided to enhance your knowledge and
skills on the following concepts: nature of the game, basic skills and tactics and interpretation of
the rules and regulations.
Varied assessment tools will be given to you, this will be used to define your personal
goals and targets, acquire adequate and relevant information and knowledge and broaden your
understanding about the game.
You will be given the opportunity to engage in practical application of the principles and
ideas of playing scrabble.
So what are you waiting for? Let the learning begins!
OBJECTIVES:
1. discuss the nature/background of the game scrabble;

2. explain the benefits that the family can derive from playing scrabble;
3. practice proper and acceptable behavior when participating indoor recreational activities;
4. promote indoor recreational activities to family members;
5. execute basic skills and tactics in scrabble;
6. interpret rules and regulations in scrabble;
7. apply knowledge of rules and regulations and strategies in scrabble.

113
PRE- ASSESSMENT:
You will be provided with sets, of activities to assess and activate your prior knowledge about
scrabble.
ACTIVITY 1 DO I KNOW THIS INDOOR RECREATIONAL ACTIVITIES?
Indoor recreational activities

are undertaken in the
comfort of one’s home or
specifically indoor and they
are to recreate the mind and
soul of a person.
1. Table A are sets of terms used in playing indoor recreational activities.
2. Select the terms used in playing scrabble and place it on the space provided for in Table B.
Table A. TERMS
SPY Boneyard Rice Knight Hardway

Tiles Jail Spade Double Word Cardboard
Double letter Bankrupt Heart Hook Letter Free Space
Soldier Square Triple Word Open Board Queen
Flag Castling Blank Tiles Chance Joker
Rectangle Draw Insignia Rook Count Tiles
Bones Chips Rank Mate Double Challenge
Adjutant Stock Go to Jail False Alarm Shuffle

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Table B
1.
6.
2.
7.
3.
8.
4.
9.
5.
10.
ACTIVITY 2 AGREE OR DISAGREE
Put a positive sign ( + ) if you agree with the statement and negative sign ( - ) if you disagree. You
will be guided by your teacher.
______1.Playing scrabble will enhance your vocabulary.

______2.Scrabble is played with exactly 100 tiles.
______3.The objective of scrabble is to score more points than one’s opponent.
______4.Playing scrabble with your family will not only enhance your vocabulary but also increase
closeness within.
______5. Players cannot place any word which can be found in a Standard English dictionary.
______6. Reading books will help you improve your vocabulary.
______7.Generally, foreign words can be placed on the scrabble word.
______8. You can play blocking to stop your opponent from making a potentially large score.
______9. Enhancing your skills and strategies can be done through online scrabble competition or
watching online videos about scrabble strategies and techniques in playing.
_____10. Concept of sportsmanship cannot be applied in playing scrabble.

115
Reflection
Ooooops! Before you proceed to the next activity,

take time first to reflect on what you have understood
in Activity No. 2.
http://www.fotosearch.com/clip-art/minute.html&docid
How will you rate yourself?
Equivalent Descriptions
10 Congratulations!
Highly Proficient You know the concept of the game scrabble
7-9 You have an idea about the game scrabble
Proficient
5-6 You have at least a partial idea about the game
Basic scrabble
BELOW 5 You need to be updated about the game
Below Basic scrabble

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LEARNING GOALS and TARGETS
ACTIVITY 3 To Know You More!

http://www.sophia.org
This activity will give you opportunity to know more about your expectations of the lesson, your
prior knowledge and skills in one of the indoor recreational games called SCRABBLE.
1. Below is a K-W-L chart. In column K, your going to write 4 things that you already KNOW
about scrabble, in column W, which is what you WANT to know, 4 things that you WANT to
know more about. Oops! Please don’t write anything yet in the third column, column L,
you will accomplish this after we are done discussing the first two columns. Is it clear?
Okay, get ready to accomplish the chart, K – W – L Na!
K - What you KNOW W- What you WANT to know L -What you LEARNED
 _______________  _______________  _______________
 _______________  _______________  _______________
 ____________  ____________  ____________
 ____________  ____________  ____________
Ok, very good, are you ready with the next encounter? Let’s Go!

117
PART 1 WHAT TO KNOW?
The objective of Scrabble is

to have the highest number
of points at the end of the
game when the extra letters
run out, and one person
doesn't have any letters in
their 'hand'.
Hi, Welcome to ACTIVITY 1 CLOSE ENCOUNTER of the SECOND KIND!
This activity will assess your encounter with scrabble and will serve as the basis in planning
the sequence of your learning activities regarding indoor recreational activities. Reflect on your
participation in scrabble game by accomplishing the questionnaires below.
1. Answer the questions by drawing a smiley for YES
and for NO on the column provided for.
2. The result will be the basis of designing future activities in SCRABBLE game. You will
be guided by your teacher. READY to DRAW? READY!, GET SET!, DRAW!
QUESTIONS YES NO
1. Have I experienced playing SCRABBLE?
2. Do I play SCRABBLE often?
3. Do I play SCRABBLE with friends?
4. Do I play SCRABBLE with family?

5. Am I a member of a SCRABBLE team in the
school?
6. Do I enjoy participating in a SCRABBLE game?
7. Do I consider the benefits derived from
playing SCRABBLE?
8. Are there SCRABBLE game enthusiasts in my
family?
9. Do I plan to make SCRABBLE game as one of
my lifelong activities?
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. . . . Nice drawing! Rest for a while and prepare yourself to go to MMDA.
TARA NA! MagMMDA NA!
http://www.clipartof.com/gallery/clipart/rally.html&docid
ACTIVITY 2 MMDA (Meet my Deep Appreciation)
In this activity, you will be introduce with what is expected of you in terms of product and
performance including how these shall be assessed and rated.
A. Product:
http://www.google.com.ph/imgres?q=FAMILY+PLAYING+SCRABBLE
Scrapbook containing pictures of your family playing SCRABBLE.
 On your scrapbook, paste pictures that you have taken while playing with your family
at home.
 Put a short description, including the date and place of each picture/s and write a
short essay on the benefits that your family may derived from playing the game

119
 Criteria for Assessment
o Content / relevance of picture presented 30%

o Creativity and resourcefulness of presentation 30%
o Understanding the benefits from playing SCRABBLE
on family’s fitness and wellness 40%
100%
B. Performance/s
 Demonstrate of your understanding of skills and basic rules in playing scrabble.

o Proficiency in the execution of skills 30%
o Ability to adopt / use skills to a particular 40%
game situations
o Behavior in playing SCRABBLE 30%
100%
Check this out !
How did you appreciate playing

scrabble with
your family?
http://www.google.com.ph/imgres?q=thinking+clipart&start
Wow! That’s nice! I appreciate what you have done

120
ACTIVITY 3 PUNTO for PUNTO
Hello learners This activity will allow you to further understand the lesson. Questions with
increasing difficulty will be given to draw ideas from you.
GUIDE QUESTIONS:
1. Based on what you have written in the K – W – L chart, what indoor recreational
activities/games does your family play? Write down 3 skills/tactics you use as
you play scrabble with your family and or friends.
2. Give a short description about the nature and background of the game scrabble.
3. Do you think playing scrabble can promote health, fitness and wellness among
family members? How?
Congratulations! You can now proceed to your next activity
PART II WHAT TO PROCESS?
In this part, you are provided with various learning resources and learning experiences for you to
develop enrich or broaden your understanding about the lesson.
Check this out!

1. What are the objectives of the game scrabble?
2. What are the materials used in playing scrabble?
3. How many players can play in any game of scrabble?
4. Why do you need to follow correctly the rules of the game scrabble?
5. What particular rules of the game will enhance your knowledge/skills about the game
scrabble?
6. What are the values of each tile used in scrabble?
7. How could you determine if you won the game?
8. What learnings will you get from playing scrabble?
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ACTIVITY 1 WATCH AND LEARN: THE BASIC
The activity aims to introduce to you the basic skills in playing scrabble and how each skill
is properly executed. Video presentation will be done during face to face session.
Video aided instructional materials will be used for your skill acquisition.
Kindly visit and download this site www.youtube.com/watch?v=62RxWIKEnqM How to play scrabble.
Your teacher will guide you in this activity.
Scrabble moves
Sequence of Play
Scoring
Strategies/Techniques
Scrabble Picture/
Video Analysis
PLAY TIME! Since you have already an idea on how to play scrabble, you can now proceed
to the next activity.
ACTIVITY 2 I WANT TO PLAY!
Hello learners! This is now the opportunity for you to demonstrate the basic skills you have
seen in the picture/video-aided instructional materials. LET’S PLAY!
1. Form a group with 4 members.(family members, neighbor, friends)

2. Assign an observer & a recorder. While playing, observer / recorder will record his/her
observation on skills / tactics used/applied by the player.
3. At the end of the game, the player, observer / recorder will share their experiences in
the game.
4. You will conduct a short discussion to arrive at a generalization regarding the
importance of mastery of the basic skills in scrabble.
Note: To enhance your skills in playing scrabble, you can play

online scrabble game at www.games.com>Word Games.
CONGRATULATIONS LEARNERS! You know already how to play!

122
PART III. WHAT TO UNDERSTAND
Your understanding of the essence of participating in scrabble games will be assessed.
ACTIVITY 1 HOW I APPRECIATE THE GAME
Hello Learner
In your activity notebook answer the following questions:
o How do you play scrabble?
o What basic skills/tactics do you need to develop/master in order to be

thebsreport.wordpress .com successful in playing SCRABBLE?
o Do you think that your knowledge on the rules and regulations of the game is an
edge for you to win? Why?
o Are there any health and fitness benefits we can get out of playing scrabble?
Enumerate at least five of them.

123
ACTIVITY 2 PLAYING WITH MY FAMILY
Scrabble helps build language skills, and your skills

will develop more if you are directly engage with your
family. Scrabble is a social game and it can top the http://www.clipartof.com/portfolio/bnpdesignstu
dio/illustration/stick-kids-playing
list of family fun activities. It is a form of recreational
activity that allows you and your family to relax, forget
any pressing concerns and improve mental
capabilities. To sum up everything, it is a way of
enhancing family bonding/camaraderie.
Based on the statements you have read above,

kindly fill up the chart given below.
Copy the format below in your activity notebook.
You will be guided by your teacher.
How the game

scrabbles enhance
bonding in your
family?

124
ACTIVITY 3 WHAT VALUE WE LEARNED FROM PLAYING SCRABBLE?
One of the important aspects in playing scrabble is developing good values. Complete the survey
below and determine the values in playing scrabble. In your activity notebook check the
appropriate space based on the importance.
After you have completed the table below, look for a partner and discuss with them the values you
learn from playing scrabble.
Values Learned Not Important Slightly Important Most Important

1. Developed camaraderie
among my peers
2. Established good
relationship with my
family
3. Made intelligent
decisions in my life
4. Made me facing
challenges
5. Enhanced my
capabilities in terms of
vocabulary.
Before you proceed to the transfer part, answer the SUMMATIVE ASSESSMENT below:
I. Multiple Choices: Choose the correct answer from the given choices
below. Write the letter of the correct answer on the
space provided for.
ANSWERS
1. Which of the following scrabble tiles have a value of five points? 1.C
A. D B. X C. K
2. What particular color of the cells on the scrabble board 2. A
Corresponds to a triple word score?
A. Light Blue B. Dark Red C. Dark Blue
3. How many bonus points will be given to a player who is able to 3.A
place all seven tiles on the board at the same time?
A. 50 B. 100 C. 150
4. Which of the following scrabble terms that is used to stop 4.C
the opponent from making a potentially large score?
A. Bluffing B. Blocking C. Challenge
5. When a rack has more than one of a given letter, it is called as? 5. A
A. Dumping B. Hold C. Duplication

125
II. Matching Type: Match the scrabble letter in Column A with the
equivalent point value in Column B.
Write the letter of the correct answer on the space
provided for in Column C.
Column A Column B Column C
1. A,E,I,L,N,O,R,S,T and U A. 10 points 1. E

2.Q and Z B. 4 points 2. A
3.J and X C. 8 points 3. C
4.F,H, V, W, and Y D. 3 points 4. B
5.B, C, M and P E. 1 point 5. D
Very Good Learners’ You are now on the last activity of this module,
keep it up!
http://www.google.com.ph/imgres?q=clapping+hands+clip+art&hl

126
PART IV. WHAT TO TRANSFER
In this phase, you are expected to demonstrate a complete product or

performance.
ACTIVITY 1 HOW WELL DO I KNOW THE GAME
This activity gives you chance to re- assess and apply what you have learned about the basic
rules of the game scrabble.
Using the table below, enumerate the rules on how to play the game scrabble.
Copy the table in your activity notebook.
How to play scrabble
10
www.fuzzimo.com/free-hi-res-wooden-scrabble-letter-tiles/&docid
127
ACTIVITY 2 MINI SCRABBLE GAME TOURNAMENT
http://www.google.com.ph/imgres?q=scrabble+board+clip+art&start
This activity aims to synthesize and apply what you have theoretically and practically
learned in the previous learning sequence. Decision making, critical thinking and sportsmanship
will be revealed and developed.
Your performance during the activity will be rated according to the following criteria:
appropriateness of skills, execution of skills and behavior during

the performance.
1. Group in such a way that there will be players and game officials. Rotation will be made
so that all groups will be able to play and officiate as arbiter/recorder.
2. The winner of each group will be selected to compete with the other winner of the group
and came up with the champion.
Check this out!
You are encouraged to integrate/use terms related to social issues such as

environmental aspect, drug education, peace education and consumer education.
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE
Proficiency in the Ability to Adapt a Skill to Behavior in Playing

Execution of Skills a Certain Sport Situation
Weight 30% 40% 30%
MASTERFUL: Able to use SKILLFUL: Demonstrates MATURE: Highly
5 knowledge and skills powerful and skillful disciplined and able to
automatically, effectively execution of the game demonstrate appropriate
and efficiently in game skills with high level of behavior towards the
situations confidence game, players and game
officials
SKILLED: Able to use COMPETENT: SENSITIVE: Disciplined
4 knowledge and skills Demonstrates and able to demonstrate
competently in game competently the game appropriate behavior
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situations skills with confidence towards the game, players
and game officials
ABLE: Has limited but PRACTITIONER: AWARE: Generally
growing ability to use Demonstrates general demonstrates proper
3 knowledge and skills in level of coordination and behavior towards the
game situations competence in the game, players and game
execution of game skills officials
with limited but growing
confidence
APPRENTICE: Relies on APPRENTICE: DECENTERING: Has
2 limited knowledge and Demonstrates limited some capacity for self-
skills; has limited use of coordination and discipline but with limited
judgment and competence in the reactions and attitudes
responsiveness to game execution of game skills towards the game, players
situations. with low level of and game officials
confidence
NOVICE: Can perform NOVICE: Has very low or EGOCENTRIC: Has little
1 only with coaching and no coordination in or no consideration to the
relies on highly directed demonstrating game skills; rules of the game; behaves
skill execution, procedures has very low level or no untowardly and has no
and game approaches confidence at all respect for other players
and game officials
CONGRATULATIONS! YOU DID A GOOD JOB TO FINISH THIS MODULE

129
SUMMARY/SYNTHESIS/GENERALIZATION
After doing all the activities, I hope that you have learned a lot specifically on the following parts:
Part 1 gives you a brief recall about your concept on the game scrabble including adequate and
relevant information and knowledge.
Part II enables you to perform/demonstrate activities that will assess your skills and
understanding.
Part III provides you with different activities and discussion that will help you to reflect and think
deeper about the game scrabble
Part IV is the final phase in which you are expected to transfer your learning through a product or
performance in a new context or situation.
I hoped that you gained a lot in terms of knowledge, skills, and value formation from the different
activities. Congratulations!
GLOSSARY OF TERMS
1. BINGO- Any word played that uses all seven letters on the rack, earning a bonus
of 50 points.
2. BLOCKING -The act of playing a word on the board that stops the opponent from
making a potentially large score. It also refers to the act of playing words that
make it harder for either player to score many points.
3. CHALLENGE-An opponent calls a "CHALLENGE" when s/he thinks a play is not

acceptable (i.e. not in the OWL or Merriam-Webster Collegiate Dictionary,
Eleventh Edition). A Word Judge is called to verify which words are acceptable or
not. Whenever there is a challenge, someone loses exactly one turn.
4. COUNT TILES- players often count tiles at two different times: 1) before a game
begins to ensure that there are 100 tiles; 2) near the end of the game, when
knowing exactly how many tiles remain to be played can be crucial for the astute
player.
5. DOUBLE-DOUBLE-When a player makes a play with letters that cover two

Double-Word Squares. The bonus for covering two DWSs one play: quadruple

130
the sum of the value of the letters of the "Double-Double" word. The sum should
include that extra values earned form any DLS covered that turn only.
6. END GAME-The portion of a SCRABBLE game when there are less than seven
tiles left to draw from the bag.
7. HOOK LETTER (A.K.A. HOOK)-A letter that will spell a new word when it is
played with in the front of or at the end of a word already on the board. Example:
With HARD on the board, the letter Y is a hook letter since HARDY is acceptable.
Likewise, the letter C can be "hooked: since CHARD is acceptable.
8. PASS-A player may pass his/her turn by not exchanging tiles and not making a
play on the board. The player scores zero and says "Pass!" and starts opponent's
timer. It is now opponent's turn. Note that when there are 6 consecutive scores of
zero in a game, the game is finished.
9. SCRABBLE- is a word game in which two to four players score points by forming
words from individual lettered tiles on a game board marked with a 15-by-15
grid.
10. TILES - Game equipment consisting of a flat thin piece marked with characters
and used in board games like Mah-Jong, Scrabble, etc.
REFERENCES
1. Wikipedia : The free Encyclopedia

2. www.Scrabblefinder.com
3. www.lifestyle.indianetzone.com
4. http://www.google.com.ph
5. MAPEH-CAT IV By Vilma Perez, et.al.
6. http://www.hasbro.com/scrabble/en_US/glossary.cfm

131
KEY TO CORRECTION
PRE- ASSESMENT
Table A. TERMS
SPY Boneyard Rice Knight Hardway

Tiles Jail Spade Double Word Cardboard
Double letter Bankrupt Heart Hook Letter Free Space
Soldier Square Triple Word Open Board Queen
Flag Castling Blank Tiles Chance Joker
Rectangle Draw Insignia Rook Count Tiles
Bones Chips Rank Mate Double Challenge
Adjutant Stock Go to Jail False Alarm Shuffle
Table B
1. Boneyard
2. 6. Hook letter
2. Double letter
7 .Double challenge
3. Draw
8. Count tile
4 .Triple word
9. Open board
5 .Double word
10. Tiles

132
Participating in indoor recreational activities is important for a child’s development and can
lay a foundation for a healthy life. Play is a good mental and physical activity for children. It
develops their physical body, movement, and coordination; encourages self-esteem; fosters social
interaction skills; improves thinking skills; and develops emotional skills. Moreover, family
relationships can be enhanced when the family has something worthwhile to do altogether.
This module encompasses the basic principles and ideas about one of the indoor
recreational activities, i.e., chess. It will lead you to understand the nature/background of the game
chess and the benefits derived from playing it. This will help you to become better player or to
love chess while learning the basic skills in playing it.
Learning Competencies:
1. discuss the nature/background of the game chess;
2. explain the benefits that the family can derive from playing chess;
3. practice proper and acceptable behavior when participating in indoor
recreational activities;
4. promote indoor recreational activities to family members;

5. execute basic skills and tactics in chess;
6. interpret rules and regulations in chess;
7. apply knowledge of rules and regulations and strategies in chess.
Pre-Assessment
You will be given set of activities to assess and activate your prior knowledge about chess.
Activity 1: Name Me!
In this activity your prior knowledge in the game chess will be assessed.
In your activity notebook, copy the table as shown. Look at the drawing of chess pieces
and equipment of the game. Identify each of the pieces.

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Write your answer on the appropriate boxes.
Are you ready? Let’s check it out!
Chess pieces and equipment So, you are…..
The above simple recall and identification have surely activated your prior knowledge in
chess. In the next activity, you will be directed to identify your own personal learning goals and
objectives of the course. At this point, you will write your expectations for this module.
GOOD JOB LEARNER!

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Define your own personal learning goals and targets about our lesson chess.
Example: Learn the moves of each chess piece.
1.___________________________________________________
2.___________________________________________________
3.___________________________________________________
4.___________________________________________________
5.___________________________________________________
The succeeding activities are classified into four phases of learning. Knowing, processing,
reflecting and understanding, and transferring of understanding.

In this phase, you will be given activities to assess your prior knowledge; communicate your
expectations: what you want to know, understand, produce or perform. You will be taught what
you need to learn about chess. You will also be informed of the assessment techniques which will
be used to rate your output and performance at the end of the lesson.
Brief History of Chess

Do you know where chess originated? Chess is a game that has been played for centuries
and was thought to have originated in India in the 15th century. Long ago, it was considered a
game reserved only for kings and members of the upper classes. Nowadays, chess is played by
common people even at an early age.
The modern design of chess pieces bears the name Staunton, who was an English master
in the mid-18OO's. These are the type of pieces that are now used in all tournaments worldwide.
The first international chess tournament was the London Tourney played in 1851. A
German named Adolf Anderssen won the game. He became the unofficial best chess player of
the world because he did not receive any award or title.
The first great American-born chess player is Paul Morphy. Paul traveled to Europe in the
185O's, where he beat all challengers, including Adolf Anderssen. However, the English champion
of the time (Staunton) refused to play with him, so Morphy never became a world chess champ.
The first official championship chess tournament was played in 1866 in London, with sand
clocks to restrict the length of a game. A Bohemian (Czechoslovakian) Jew named Steinitz won
the game. He became the world's first official chess champion, holding this title until 1894.
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Have you wondered who rules in the world of chess today? Recently, Russia dominates the
game of chess. This results from the establishment of government schools for talented chess
players after the communist revolution of 1917. Since 1927, many of the top chess players have
been citizens of the former USSR, and include: Tal, Alekhine, Petrosian, Spassky, Smyslov,
Anatoli Karpov, and Gary Kasparov.
Benefits Derived from Playing Chess.

Chess is an indoor recreational activity which is now being introduced as a major part of
secondary level curriculum because of the benefits it gives to the students.
You probably know some of the benefits derived from playing chess. Here are some of the
benefits which can be derived from playing chess.
1. Chess increases the mathematical and scientific skills of the students. It also enhances the
problem solving skills, concentration ability, as well as logical thinking ability of the students.
2. It develops a sense of confidence and self-worth of a student.
3. It also increases communication skills of a student.
4. It gives a lesson of hard work and commitment.
5. Aside from intellectual exercise, chess provides entertainment and relaxation. This game is
free and can provide entertainment even for the observers.
6. Chess also has health benefits. It is considered as a form of recreational therapy. Chess
keeps the mind healthy and a healthy mind results in healthy body. It is used by therapists
to help people suffering from cognitive functioning such as anxiety and depression.
7. Chess a form of indoor recreational activity can be used to strengthen family bond. The
members of the family can play with each other while at home. In a way, the chess pieces
can represent the family members. Each member of the family has a role to play. In chess,
the pieces also have specific function to perform to win the game.

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Activity 1: Think of Me!
This activity will give you the opportunity to know more about your expectations of the
lesson, to assess your prior knowledge and skills in chess, and what you want to know/learn about
it.
Copy the illustrations as shown, and write what you currently know about the game chess
under box A and what you want to know more about the game under box B. Use the questions
as your guide.
Ready Chess Go!
A B
Guide Questions
1. Give a short description about the nature and background of the game chess.
2. Do you think playing chess can promote health, fitness, and wellness among family members?
How?

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Activity 2: Give Me a Star!
At this point, questions are provided for you to gauge how you value chess as a game.
In your activity notebook, copy the table as shown, and answer the questions by placing
for always, for sometimes, and for never on the space provided.
QUESTIONS always sometimes never
Have I experienced playing chess?
Do I play chess with my family?
Do I enjoy participating in chess games?
Do I consider the benefits derived from playing

chess?
Do I plan to make chess game as one of my

lifelong activities?
Do I play chess with friends?
How often do I play chess?
Are there chess enthusiasts in my family?
The two activities above gave information on your personal concepts of the game chess. In the
next activity, your answers will be based on the lessons you will learn in the classroom about the
nature and background of the game.

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Activity 3: Chess Out! All On
Board!
Below is a chess board containing rumbled details regarding benefits derived from chess and the
proper behavior when participating in this game. Copy the chess board in your activity notebook.
From the numbered details below, identify which are the benefits derived from chess and
the proper behavior when participating in the game. Write the number on the shaded box below
corresponding to benefits derived from chess and the number on the white box for the proper
behavior when participating in chess game.
1 2 3 4
Develops a sense of It gives a lesson of Increases
confidence and self- hard work and Never boast over a communication
worth. commitment. win skills.
5 6 7 8
Chess increases the Don’t show rude
Always show mathematical and Chess keeps mind behavior over a
sportsmanship. scientific skills. healthy. defeat.
9 10 11 12
Strengthen family Don’t distract the Provide Do not make it

bond. other players. entertainment. obvious if you make
a mistake
13 14 15 16
If you disagree with
Never blame others Chess provides Minimize talking what your opponent
for something they relaxation. when at the event has done raise your
did not do. venue. hand and ask for
help.

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You have made a lot of progress by learning the overview of the game chess. Now, you
will learn the basic skills in playing chess. You will be acquainted with the rules and regulations of
the game.
Activity 4: Watch Me!
This module comes with a video presentation on how to play the game which you can
download at https://www.youtube.com/watch?v=unB3BoEtLDo&feature=channel&list=UL
After the video presentation answer the following questions:

1. How does a chess piece move?
2. What are the special features of the chess piece?
3. How can you do castling?
4. When does check or checkmate occur?
In Part I of the module, activities are designed to gauge the knowledge and interests you
already possess as well as the evidence of your learning from this module. In the second phase,
activities will focus on how you process the information you gained in the first phase.

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PART II: WHAT TO PROCESS
In this phase, you will be provided with various learning resources and learning experiences
to enable you to understand and perform better in the game chess as an indoor recreational
activity.
Activity 1: Paper Juggling!
This activity will test your ability to use your hands and eyes together to perform a task
requiring you to synchronize vision, touch, movement, and cognition.
Paper juggling is a fun way to help you develop and maintain your eye-hand coordination
that is essential in playing chess.
1. Make your own paper juggling ball by crumpling 2 sheets of paper.

2. Start the activity by juggling the paper ball alternately with right and left hand.
3. Count how many times you hit the paper ball.
4. If you fail to hit the paper ball, stop counting.
5. Do it three times.
6. Your final score will be the highest in three trials.
Activity 2: Where do I belong?
You are now on the exciting part of the module. In this activity, you will be acquainted with
the proper positioning of the chess pieces on the chess board.
Try to visualize a chess board with chess pieces placed in their proper initial positions. In
your activity notebook, copy the illustration as shown and locate the following pieces in their initial
positions on the chess board by writing the number in the space provided.
__________ __________
__________ __________
__________ __________
__________ __________

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__________ __________
Compare your answer to the answer key found at the last page of this module.
Through the aforementioned activities, you were warmed up by playing paper juggling and
identifying the initial positions of the chess pieces. In the proceeding activity, you will perform the
moves of each chess piece.
Activity 3: It’s Playtime!
In this next activity, you will be given the opportunity to practice the basic moves of each
chess piece. You need to remember each specific move to win a game. Pieces can be moved to
capture an opponent's piece. This is done by landing on the square of the opponent’s piece and
then replacing it.
Pieces can also be moved to defend other pieces in case of capture, or to control important
squares in the game.
Follow the moves of the chess pieces as illustrated below.

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THE KING
The king is the most important piece, however it is also considered one of the weakest. The
king only moves one square in any direction - up, down, to the sides, and diagonally. The king
may never move himself into check (where he could be captured
Note: The dot (●) represents the direction of moves of the pieces.
THE QUEEN
The queen is the most powerful piece. It moves in any one straight direction - forward,
backward, sideways, or diagonally. As all the other pieces, except the knight, it cannot move over
any intervening piece.
THE ROOK
The rook may move to any square as far as it wants, but only forward, backward, and to the
sides. The rooks are particularly powerful pieces when they are protecting each other and working
together!

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THE BISHOP
The bishop may move as far as it wants, but only diagonally. Each bishop starts on one color (light
or dark) and must always stay on that color. Bishops work well together because they cover up
each other’s weaknesses.
THE KNIGHT
Knights moves by going two squares in one direction, and then one more move just like an
“L” shape. Knights are the only pieces that can move over other pieces.
THE PAWN
Pawns move forward, but capture diagonally. They can never move backwards. On its first
move, the pawn can advance two squares at a time. Succeeding moves will be one square at a
time.
Note: the x represents the move for capturing opponent’s piece.
Congratulations! You have gained understanding and knowledge of the basic moves of
each chess piece. You can now proceed to the next activity.

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At this point you need to concentrate on the rules and rules and regulations of the game and
be in focused on the game play.
Activity 3: Mix Match!
After learning each chess moves, let us review your knowledge on the rules and regulations
in playing chess.
Welcome to your next activity! In your activity notebook, copy the figures and other entries
as shown. You have to identify the move of each illustrated chess piece. With the use of a
straight line, connect column A to column B then, column B to column C. The first one is done for
you.

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COLUMN A COLUMN B COLUMN C
Pieces that
● ●a ● ●a can move over
1. other pieces.
The most
important
● ●b ● ●b piece, but it is
2. one of the
weakest
Move to any
square as far
as it wants,
● ●c ● ●c but only
3. forward,
backward, and
to the sides.
Move and
● ●d ● ●d capture along
4.
the diagonals
The most
● ●e ● ●e powerful
5.
piece.
Can be
● ●f ● ●f promoted to
6. any piece.
Compare your answer with the key to correction on page 163.

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PART III: WHAT TO REFLECT AND UNDERSTAND
In this phase you have other learning resources and experiences to enrich your
understanding of chess.
Activity 1: The King and I !
Below are pictures of chess pieces and members of a typical family. In your notebook, copy
the table as shown. Write the function of each chess pieces and the function of the family
members on the space provided for. After which, relate the functions of each chess piece to the
members of the family or to the family as a whole. Present your work to your teacher.
CHESS FUNCTION IN THE FUNCTION OF THE FAMILY

PIECES CHESS PIECES FAMILY MEMBERS MEMBERS

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Activity 2: Very Essay!
Here is a question for you to ponder. This will give you a deeper understanding on the
value of playing chess.
Do you think playing chess can promote health, fitness and wellness among family
members? How?
Copy the illustrations in your notebook, and write your answer on the space provided.

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In Part III, you have sets of activities which deepen your understanding of the game chess.
In Part IV, your performance and product will be assessed. It’s now time for you to solve chess
puzzles and meet other players and do chess match.

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PART IV: WHAT TO TRANSFER
WOW! Finally, you made it to this part! This is now your chance to show everyone that you
can play chess. In the next activities, you need to have a chess set. Your performance and
product will be graded based on a set of criteria.
MINI-CHESS TOURNAMENT
The aim of this activity is for you to apply what you have learned theoretically and practically in
the previous phases of learning sequence.
1. You will be grouped by pairs. Rotation will be done so that you will have the chance to meet
the other members of the group.
2. Your performance will be ranked based on the score garnered during the mini-tournament.
Name of Students Score Rank
1.
2.
3.
Note: The number of students to be ranked is not limited to three.

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SUMMARY / SYNTHESIS / GENERALIZATION
This module focuses on different sets of activities that help you develop the required skills
in playing chess. It has enabled you to understand the basic principles and concepts behind the
game. After performing all the required tasks in this module, it is expected that you have already
gained knowledge on the essentials of chess and its deeper value as a recreational activity to
promote good family relationship.
Part 1 gives you a brief recall on the game, chess. It has also provided you with activities
which strengthened your knowledge about the game such as providing you with the opportunity to
enumerate what you know and what you want to know about chess. You are also acquainted with
the benefits derived and the proper behavior when participating in a chess game. Moreover, a
downloadable video clip is prepared for you to help you better understand the rules and
regulations of the game.
Part II enables you to perform activities that evaluated your skills and understanding of the
game. You are tasked to demonstrate the move of each chess piece. Moreover, you are given the
opportunity to play online chess to enhance your skills in playing the game.
Part III provides you with activities to make you reflect and think deeper on the value of
chess as a game.
Finally, in Part IV, you are made to transfer what you have learned in this module through a
product or performance. You are given the chance to apply what you have learned theoretically
and practically in this module. You were made to solve chess puzzles and played mini-chess
tournaments.
Congratulations! You made a good job. Surely, you have gained a lot of knowledge after
performing all the activities in this module. It is hoped that you have also gained the family values
this module wants to convey.
Glossary of Terms
1. Castling - This is a move of the king and either rook of the same color along the player’s first
row. On a player’s turn he may move his king two squares over to one side and then move
the rook from that side’s corner to right next to the king on the opposite side.
2. Checkmate - is a situation in chess in which one player's king is threatened with capture (in
check) and there is no way to meet that threat.
3. Chess - A board game for two players, each beginning with 16 pieces of six kinds that are
moved according to individual rules, with the objective of checkmating the opposing king.
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4. Draw - a chess game where nobody ends as a winner.
5. En Passant - It is a special pawn capture which can occur immediately after a player moves
a pawn two squares forward from its starting position, and an enemy pawn could have
captured it had it moved only one square forward. The opponent captures the just-moved
pawn as if taking it "as it passes" through the first square. The resulting position is the same
as if the pawn had moved only one square forward and the enemy pawn had captured
normally.
6. Promotion - Special ability of pawns wherein if it reaches the other side of the board it can
become any other chess piece except the king.
Sources:
http://www.fide.com/component/handbook/?id=124&view=article
http://www.buzzle.com/articles/basic-rules-of-chess-how-to-play-chess.html
Chess basic rules of play http://www.oksports.ie/games-rules/chess/
http://clatskaniechessclub.tripod.com/id70.html
The History of chess. http://www.learn-chess.com/the_history_of_chess-27008.php
http://lifestyle.indianetzone.com/recreation/1/indoor_recreational_activities.html
www.washingtonpost.com

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KEY TO CORRECTION
\ Activity 2: Where do I belong?
6 5
7 10
2 4
9 3
1
8

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Activity 4: Mix Match!
COLUMN A COLUMN B COLUMN C

● ●a
7. Pieces that
● ●a can move over
other pieces.
The most
b important
 ● ●b piece, but it is
8. one of the
weakest
Move to any
●c square as far
as it wants,
● ●c but only
9. forward,
backward, and
to the sides.
● ●d
Move and
● ●d capture along
10.
the diagonals
The most
● ●e powerful
11.
piece.
Can be
● ●f ● ●f promoted to
12. any piece.

154
The family needs to have opportunities to have fun and bond altogether. Parents are
important role models and should be active with their children everyday. It is best that activities for
children match their skills and abilities.
Families who spend their leisure time together become closer and indoor activities are the
best ways for them to stay close while having fun!
This module focuses on another indoor recreational activity for the family, the game
domino. It is designed to acquaint you with the principles and ideas behind the game. This module
will assist you in the process of understanding the nature/background, benefits derived, and the
basic skills and tactics in playing the game. You will be given the opportunity to engage in
practical applications, of the principles and ideas of playing domino. As a student, you are
probably familiar with the procedures of playing domino. This time, you can become a better
player and appreciate the game more as you go through this module.
Learning Competencies:
1. discuss the nature/background of the game domino;
2. explain the health and fitness benefit that the family can derive from playing dominos;
3. practice proper and acceptable behavior when participating in indoor recreational activities;
4. execute basic skills and tactics in domino;
5. interpret rules and regulations in domino;
6. apply appropriate rules and regulations in domino;
7. initiate the promotion of indoor recreational activities to family members.
Pre- Assessment:
At this point, you will be provided with activities to pre-assess and recall your prior
knowledge about the game domino.
Now, start with your lesson!

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Activity 1:“BatangHenyo”
We are going to start with our first activity. You will be divided into 3 teams. You will play
charades on words related to domino. This activity will test how sharp your mind and body act in
coordination when you are short of some words.
Here’s what you are to do.
1. The game starts by asking each team to write words related to domino on pieces of paper
then fold and put them on a bowl.
2. Each member of the team will pick a piece from the bowl. When it's your turn, close your
eyes and pick a piece of paper from the bowl. Without saying a word, help your team by
trying to guess the word by giving signals and gestures.
3. Stop when your team guesses the word or time runs out. You will be given a minute to act
out the word.
4. The team with the most number of correct guesses wins the game:
You need to use the following words related to the game.
 Bone
 Double
 Block
 Tiles
 China
 Rectangle
 Bar
 Dots
The above activity helps facilitate your prior knowledge about domino. In the next activity,
enumerate your own personal learning goals and objectives for the lesson. At this point, you will
write your expectations for this module.

156
Express/State your own learning goals and target about our lesson domino.
Example. Learn how to play domino.
1.____________________________________________________
2. ____________________________________________________
3. ____________________________________________________
4. ____________________________________________________
5. ____________________________________________________
The succeeding activities are classified into four phases of learning. Knowing, processing,
reflecting and understanding then transferring of knowledge.

In this phase, you will be provided with sets of activities to measure your prior knowledge;
to express your expectations of this course based on what you know, what you want to know and
what you can accomplish in relation to the topics; to equip you with the necessary knowledge
about domino; and to inform you of the assessment techniques which will be used to rate your
output and performance.
History of Dominoes
Dominoes (or dominos) generally refer to the collective gaming pieces making up a domino
set (sometimes called a deck or pack) or to the subcategory of tile games played with domino
pieces. In the area of mathematical tilings and polyominoes, the word domino often refers to any
rectangle formed from joining two congruent squares edge to edge. A domino set may consist of
different number of tiles and dots. The traditional Sino-European domino set consists of 28
dominoes. The totals for all common domino sets is presented in the following table:
Domino Set Number of Tiles Number of Dots

Double Six (6-6) 28 168
Double Nine (9-9) 55 495
Double Twelve (12-12) 91 1092
Double Fifteen (15-15) 136 2040

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Dominoes are called "bones" because the earliest domino tiles were made from animal
bones or ivory. In addition to "bones", dominoes are also called "tiles", "stones", "men", “tickets”, or
“spinners”. Each domino is a rectangular tile with a line dividing its face into two square ends.
Each end is marked with a number of spots (also called pips) or is blank. The word "pip"
commonly means a "spot" or a "speck", and perhaps that's why a domino's spots are called "pips".
The backs of the dominoes in a set are indistinguishable, either blank or having some common
design. A domino set is a generic gaming device, similar to playing cards or dice, in that a variety
of games can be played with a set.
Evidences show that tile games have been found in China as early as 1120 CE. Some
historians credit Keung T'ai Kung, in the twelfth century BCE for creating them. Other historians
stated that dominoes were invented by a statesman named Chu sz yam in 1120 CE. This person
is said to have presented them to the Emperor Hui Tsung, and that they were circulated abroad by
imperial order during the reign of Hui's son, Kao-Tsung (1127-1163 CE).
You might have notice that there has been no exact data on the origins of domino.
However, one is clear enough, it has existed so long ago that documentation of which is scarce.
Although domino tiles are clearly of Chinese inheritance, there is a debate over whether the
European tile set came from China to Europe in the fourteenth century or was invented
independently.
Have you seen European dominoes? They are rectangular tiles that are twice as long as
they are wide. There is a single tile for each combination of the faces of a pair of dice; the blank
suit is the throws of a single die, for a total of twenty-eight tiles in the standard Double six set.
Other sets with larger numbers of tiles were invented later, with the double nine and Double twelve
sets being the most common extensions.
Where did the word domino came from? The word "domino" is most likely to be derived
from the Latin, dominus (i.e., the master of the house). The vocative, domine, became the Scottish
and English dominie (i.e., schoolmaster). The dative or ablative, domino, became the French and
then the English domino. The word "Domino" is French for a black and white hood worn by
Christian priests in winter which is probably where the name of the game derives from. Domino
games are played all over the world, but they are most popular in Latin America.
The game domino is very popular in Italy, France, and Britain in the 18th century. France
was also producing domino puzzles. The puzzles were of two types. In the first, you were given a
pattern and asked to place tiles on it in such a way that the ends matched. In the second type, you

158
were given a pattern and asked to place tiles based on arithmetic properties of the pips, usually
totals of lines of tiles and tile halves.
Benefits from playing dominoes.
As any indoor recreation game, playing dominoes provides fun and interaction for the family.
At the same time, the game provides learning opportunities to stimulate the mind. It also
encourages socializing and important social skills such as learning how to win/lose, teamwork, and
other values. These are values which cannot be gained from playing online games which children
play on their own.
Dominoes cater not only for the young ones but also for the grown-ups. Domino sets come
in different colors, designs, and sizes.
Activity 1: Go Domino!
This activity will give you opportunity to know more about your expectations of the lesson,
your prior knowledge and skills in one of the indoor recreational games called domino, and what
you want to know / learn more about the game.
A. In your activity notebook, copy the chart as shown and write what you currently know
about domino under box 1 and what you want to know more about the game under box 2.

159
Share your answers with your teacher or resource person. After the activity, each group
will share with the class what they have written. As each group presents their output other groups
are allowed to contribute to the discussion.
B. Below are frequently asked questions about domino. Try to answer each of the following
based on your prior knowledge about the game. Write your answers in your activity notebook.
1. Is domino a game for two persons only? If your answer is no, give a scenario wherein the game
can be played by more than two persons?
2. Why domino tiles are called bones?
3. How many tiles and dots are there in a domino set?
4. What is the origin of dominos?
5. Why are dots on the dominoes called pips?
The above activities are focused on your personal concept of the game domino. They cover
the nature and background of the game. Now, you will further your knowledge on the rules and
regulations of the game by watching a video.

160
Activity 2: Watch a Video!
This module comes with a video presentation on how to play the game. This can be done
during your meeting with your teacher.
Now you know how to play domino based on the video you have watched. The next two
activities can be answered based on the video you watched.
Activity 3: Way to Domino!
In your activity notebook, copy the chart shown and write the 7 steps on how to play domino
on the appropriate boxes.

161
Activity 4: Domino Rules!
In this activity, you learn the rules and regulations of domino. Copy the chart in your activity
notebook and arrange the statements according to the sequence on how the game is played.
Put a dot on the first step, 2 dots on the second step, 3 dots on the third step, and so on…
Place your answers on the box at the left side of the statements.
The first player places the first tile, usually a double-six, on the table. If no
one holds the double-six, then the double-five is played, and so on.
Once you begin drawing tiles, they are typically placed on-edge so that you
and your opponent can see your own tiles, but without showing the value of
the tiles. Every player can thus see how many tiles remain in the other
players hands at all times during game.
The dominoes must be shuffled to make a boneyard.
As you take turns placing tiles with your opponent, if someone cannot
make a move, you can draw a tile from the boneyard.
The game ends when you have played all your tiles, or when a game is
blocked.
Each of the players choose a domino at random, with first move going to
the player holding the "heavier" domino.
In Part I of this module, activities are intended to assess the knowledge and interests as
well as the proof of your learning from this module. In Part II, activities will deal with how you
process the information you gained in Part I.

162
PART II: WHAT TO PROCESS
In this phase, you will be provided with various learning resources and learning experiences
to enable you to better understand and perform the game domino as an indoor recreational
activity.
Activity 2: DOMINO PUZZLES!
Let us gauge your skills in playing domino. Below are domino pieces which need other
pieces to be connected.
Solve the puzzles below by applying the domino game tips.
What will be your best move a, b, or c. Write the letter of your answer in your activity
notebook.
1.
2.
3.

163
4.
5.
After finishing the puzzles, enhance your knowledge on the basic skills in
playing domino by playing online games.
You are now equipped with the basic skills in playing domino! At this point, you will be
familiarized on how domino tiles look like. You will make your own domino set.
Activity 4: Make your own domino!
Have the class form three groups, make 28 domino cards using illustration board or
cartolina. The size will be 2 x1 inch. Use pen marker or ballpen to draw dots. The 28 domino cards
will look like the illustration below.

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Materials needed: Illustration board, cartolina, scissors and pen marker. (Note. Recyclable
materials can be used.
You did a good job in making your own domino cards!
In Part II, you were given sets of activities to facilitate better understanding of the game
domino. Aside from just knowing the necessary skills in playing the game, a deeper understanding
of its value is necessary. In Part III, the sets of activities are intended to communicate the
importance of domino.
PART III: WHAT TO REFLECT AND UNDERSTAND

In this phase, you will be provided with other learning resources and experiences for you to
enrich your understanding of the game domino.
Activity 1: Let’s Get Domino!
Based on what you have learned in this module, has your view on the significance of
playing a recreational activity like domino changed? Start your write up with this statement. I have
come to realize that ___________________________ .Write your realization in your notebook.

165
Activity 2: Guess the Word!
Below are domino tiles which, when arranged, form the words that complete the two
unknown phrases at the middle (two question marked tiles). Rearrange the letters at the bottom of
each word/phrase to find the word. The two unknown words represent the category of the
words/phrases. Write your answers in your activity notebook.
Cater not only

Provides Interaction for the young
learning Good Values Teamwork for the ones but also Friendship Social skills Fun
opportunities to family for the grown-
stimulate the ups
mind
E F E S I N T B
Refrain from Never

Don’t show Minimize Don’t Do not
giving Never Always blame
rude talking distract make it
comments boast show others for
behavior when at the the obvious if
on another over a sportsma something
over a event other you make
game that is victory nship. they did not
defeat. venue. players. a mistake.
in progress. do.
I E B A V H O R
The above activity focused on the benefits derived from playing domino and the proper and
acceptable behavior in playing the game. In the next activity, it’s your time to share your own idea
on the importance of playing domino.

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Activity 3: Sharing Time!
Share to your friends/relatives your ideas about the value of playing domino. Be guided by
the following questions. Write your ideas/answers to the questions in your activity notebook.
How did you feel about playing recreational games like domino?
Would you encourage your family members to play domino? Why?
Is playing domino considered a good recreational activity which fosters good social
relationship?
Can you think of other activities which can be paired with domino to make the game more
exciting?
In Part III, you have sets of activities which deepened your understanding of the game
domino. In the next part, your performance and product will be evaluated. You will play domino
matches.
In this phase, you are expected to demonstrate/show a completed output or performance

as required by the lesson.

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Activity 1: Let’s Play!
Finally, you made it to this part! This is now your chance to show everyone that you can play
domino with an opponent. This activity will be done during your contact time with your teacher.
a. Your teacher will ask you to pair with a regular class in a match of domino.
b. You will be assessed using the following rating scale:
Numerical Interpretation Descriptive

Value Equivalent
1 Perform the basic skills with no errors Advance
2 Perform the basic skills with some errors Proficient
Perform the basic skills with some errors Approaching
3
and relied on others’ help Proficiency
Needs more practice to perform basic
4 Developing
skills
Activity 2: ASSESSMENT OF PERFORMANCE: DOMINO MINI-TOURNAMENT!
After you have mastered playing domino with your friends, relatives or neighbor, you are
now ready to compete in a mini-tournament. This time, your performance will be ranked based on
the score garnered during the tournament.
A game will be composed of four players.
Name of Students Score Rank
1.
2.
3.
Note: The number of students to be ranked is not limited to three.

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SUMMARY / SYNTHESIS / GENERALIZATION
Domino mimics family situation wherein the pieces are interconnected and needs to match
each other. Like the family, the members of the family have a bond that connects them. Each
member needs to be in consonance with each other so that harmony among them will be
achieved.
This module focuses on activities that facilitated the development of the required skills in
playing domino. It has helped you understand the basic ideas and concepts behind the game.
After performing the required activities in this module, it is expected that you are already equipped
with the knowledge on the basics of domino and it the family values the game wants to promote. .
Part 1 dealt on a short recall on your prior knowledge about domino. It has activities which
strengthened your knowledge about the game such as asking you to enumerate what you already
know and what you want to know about domino. The module also acquainted you with the basic
rules and regulations of the game. The module also comes with a downloadable video clip which
surely helped you to better understand the rules and regulations of the game.
Part II focuses on activities that assessed your skills and understanding of the game chess.
You were tasked to solve domino puzzles as well as make your own domino set. Moreover, you
are given the opportunity to play online chess to enhance your skills in playing the game.
Part III provides you with activities to make you reflect and think deeper on the value of
chess as a game.
Finally, in Part IV, you are made to transfer what you have learned in this module through a
product or performance. You are given the chance to apply what you have learned theoretically
and practically in this module. You are made to compete in mini-chess tournaments.
Great job! Congratulations! You have learned a lot after going through the module. It is
hoped that you have also gained the family values embodied in this module.

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GLOSSARY OF TERMS
Bar - refers to the middle line dividing the two squares of a domino tile.
Blocked game - occurs when neither player can play.
Bones - also known as the domino tiles.
Bone yard - refers to the stock of domino pieces.
Dominoes - generally refers to the collective gaming pieces making up a domino
set (sometimes called a deck or pack) or to the subcategory of tile
games played with domino pieces.
Dots - refers to the spots of a bone.

Draw game - Players are additionally allowed to draw as many tiles as desired
from the stock before playing a tile, and they are not allowed to pass
before the stock is (nearly) empty. The score of a game is the
number of pips in the losing player's hand plus the number of pips in
the stock.
Sources:
http://www.domino-play.com/Strategy.htm
http://en.wikipedia.org/wiki/Dominoes
http://www.pagat.com/tile/wdom/history.html

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Grade 8 Learning Materials
Under the K to 12 Curriculum
MAPEH Grade 8
Physical Education
Fourth Quarter
Regional and National Dances with Asian Influence
INTRODUCTION
Kumusta! Naimbag nga aldaw! Maayong buntag! Como esta usted? Assalam
Malaykum! Hello Grade 8 learners! How’s your day? I hope that you are as strong,
energetic, athletic and competitive as ever because for all you know, you will be
needing all your strengths for the activities found in this module.
When you were in Grade 7, you have learned to perform examples of local
and Indigenous dances. You also learned to value them in order to maintain good
health and eventually realized that folk dancing is indeed a good recreational activity.
Just like any other sports or games, dancing is also a physical activity that can
promote lifelong fitness and wellness. It is a good source of exercise that could help
develop grace and poise. It can even help in maintaining good health as it highlights
health-related fitness components such as cardio-vascular endurance, flexibility, and
strength.
With the effect of acculturation, indigenous dances of the Philippines may

have been modified since the culture of other countries has influenced our very own
dances. This is evident in the western style adopted in our folk dances. Along with
this are the influences of our Asian neighbors that have enriched our national dances
to a large extent. It is for this reason why there is a need for you to understand our
cultural rootby learning our dances.
This module will introduce you to the different regional and national folk
dances of the Philippines with influences from other Asian countries. We are part of
the on going history of trade and industry and that part and parcel are influences
retained in us like textiles, color of fabrics, and design reflected in the costumes of
the dance.
Furthermore, this module anchors its framework on the holistic approach of

using regional and national dances as potent sources for staying healthy and fit. At
the same time, they are prime educational tools for learners like you.

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OBJECTIVES:
 discuss the origin and location of folk dance through its costume and music
 execute selected regional and national dances with Asian influences such
as the Binislakan, Sakuting, Sua-ko-Sua and Pangalay
 demonstrate the dance sequence appropriately
 identify the meaning of the gestures and hand movements of the dance selected.
 approximate interpretation of the dance literature
 promote folk dancing as a physical activity for the family.
Pre- Assessment:
To check how ready you are on in terms of familiarity to dances with Asian
influence, here are some basic ideas or concepts which will lead you to answer
queries relative to performing these regional and national dances.
Part I- Examine the following pictures and anwer the accompanying questions.

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1. What general concept can be derived from the given pictures? Explain.
2. If you were to think of Asian countries that would closely relate to the given
pictures, what countries could that be? Justify your answer.
3. Are these dances influenced by other countries? Prove your point.
4. Just by simply looking at their costumes and props, can you give the place of
origin of these dances? What are your proofs to say so?
5. Can you give a storyline for each of these dances just by looking at their
poses, costumes, and props?
6. Is there a need for proper expression in folk dancing? Does it speak of
something?
7. Can you name examples of Philippine folk dances that have Asian influence?
Can you demonstrate examples of foreign folk steps? What are their step
patterns?
8. What are the implements that are commonly used in folk dances with Asian
influence? What are they for?
9. Can you explain the effects of acculturation in the country based on the kind
of dances we have?
After finishing the test, you are now

ready to face the Learning Goals and
Targets of this module. As a grade 8
learner, what are your expectations?
Write in your activity sheet your own
learning goals in relation to this
subject. One example of learning
goal is basis in making your own.
(Example: I expect that at the end of this lesson, I will be able to identify and learn
examples of regional and national folk dances with Asian influence.)
 ______________________________________________________________
 ______________________________________________________________
 ______________________________________________________________
 ______________________________________________________________
 ______________________________________________________________

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Now that you have written your
personal goals and targets, you
may now procede to the next
level which is a gateway for you
to get acquianted with the basics
in folk dancing. So enjoy your
journey as you unravel the origin
and historical background of the
regional and national folk dances
with Asian influence. Your
journey starts now!!! Goodluck 
LESSON I
Learning Goal: Describe and discuss the nature and characteristics of the dances.
Philippine folk dances speak so much about the heartbeat of our people for
they tell about our customs, ideas, beliefs, superstitions, and events of daily living in
a certain community.Just by looking at the costumes, props, and implements of a
certain group or tribe would tell you of the origin of the dance. The kind of music
being used readily also tell about the influences brought about by trade and
settlement of our
neighboring countries such as China, Malaysia, Indonesia, Burma, Cambodia,

Thailand and Japan to name a few. Truly evident is the effect of acculturation in the
country as manifested by the kinds of costumes, props, music, and dance steps that
are used and integrated in to some of our regional and national folk dances. The use
of gongs, kulintangs and the incorporation of pentatonic scale to our musical
compositions are just concrete proofs of acculturation in the country. These are the
reasons why Philippine folk dances contribute to the very rich culture of the country.
The following historical backgrounds and context of the dance literatures of

Binislakan, Sakuting, Sua-ku-Sua and Pangalay would give you a clear picture of the
nature and background of these regional and national folk dances. This will help you

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understand its significance and cultural value, including the beauty and complexity of
the people’s lives living in those places.
Study these dances carefully and imbibe in you their importance to the
development of cultural value.
BINISLAKAN (Lingayen)
Dance Researcher : Francisca Reyes

Meaning : With the use of sticks
Dance Culture : Christian Lowland
Place of Origin : Pangasinan
Country of Influence : China
Ethno-linguistic Group : Pangasinense
Classification : Social Dance
www.kalilayan.com
Background:
Lingayen in Pangasinan means having to look backward and upward. It was

derived from “Li-King-Tung”, a Chinese word given to the name Lingayen, the capital
of Pangasinan, by the Chinese settlers of this place a long time ago. The barrio folks
who lived at Almazin, a small place between barrio Pangasinan (Pulong) and
Maniboc danced this to commemorate the stay of Limahong, a Chinese pirate who
built his kingdom here.
The dancers look backward or upward in some of the movements; hence, the
name Lingayen. They also use two sticks to produce rhythms imitating the

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chopsticks used by the Chinese in eating, so the dance is also called Binislakan,
which in Pangasinan means, with the use of sticks.
Dance Properties:
Costume
Female : Siesgo and kimono with loose and long
sleeves and soft panuelo
Male : Camisa de Chino and red pants
Music : 2/4 composed of two parts: A and B
Count : One, two, one and two, and one and two and
Formation : Partners stand about six feet apart. One or more pairs in
a set can take part in the dance, in any formation
desired.
SUA-KU-SUA
Dance Researcher : Ramon A. Obusan

Meaning : My Pomelo Tree
Dance Culture : Lowland Muslim (Coastal)
Place of Origin : Jolo, Sulu
Country of Influence : China, Malaysia and Indonesia
Ethno-linguistic Group : Tausug
Classification : Courtship Dance
Source: www.kalilayan.com

176
Background/Context:
The Tausug of Sulu, Southern Philippines, though known as fearsome

warriors are also better known as sturdy seafarers and hardy farmers. Extensive
orchards are planted with coconuts and pomelos and fields with staples like rice and
root crops.
At harvest time, pomelo fruits are gathered in big baskets before they are sent
away. The Tausugs depend strongly on the income the pomelo bring them and this
relationship is romanticized by comparing the sua’s gentle leaves, slender branches,
attractive fruits and fragrant flowers to the virtues of a lady. Put to music, it is this
song that is sang by couples while flapping two white fans each resembling leaves
rustling in the wind in the Sua-Ku-Sua Dance.
Sua-ku-sua performers, some men but especially women come to the
festivities with face thickly covered with finely ground rice powder and their eyebrows
and sideburns enhanced with soot- all for beauty’s sake.
Movements/Steps Particular to Dance:
Creative imagery: Fans transform into tiny sails, face mirrors, butterflies,
shields and leaves. Tausug traditional steps with Chinese influence.
Dance Properties:
Costume:
Female:
Top (Barawasi) : Traditional loose blouse, long sleeves wit
deep, plunging key-hole neckline.
Extra panels attached to the right and left
chest decorated with many tiny brass
buttons.
Material : Cheap printed or plain Chinese silk or
cotton.
Pants (Sawal or Kantiu) : Loose Chinese pants with a 10-inch soft
white band
(coco curdo) attached to a wide waist. To
tuck the pants in, the white band is
overlapped in front, one side on top of the
other and rolled out to form a tight belt.

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Material : Cheap Chinese silk or any silky material
preferably in navy blue, sunshine yellow,
grass green, red or orange colors
Shoulder band (Siyag) : A separate wrap-around malong of rich
material strung over the right shoulder
crossing the chest and hanging on the left
side.
Headpiece:
There are three choices:
1. Gold or brass filigree called tusuk;
2. Paper bills pasted on slender sticks; and
3. Pasteboard cut-out, the front tip 8 to 10 inches high,
similar to Chinese crowns covered with gold foil.
Accessories : Gold or imitation gold earrings, necklace,

bracelets and brooches.
Suggested Footwear : Dancers are in barefoot.
Male:
Top (Bajo) : Short-waist collarless shirt. Open at the
front with the right panel overlapping the
left, studded with many tiny brass buttons
and is not intended to close the front but
used as an additional shirt decoration. It is
allowed to drop on the right side.
Material : cheap printed or plain Chinese silk or

cotton.
Pants (Sawal or Kantiu) : Similar to the female pants but in darker
colors and bolder designs.
Accessories : Money-belt, Sarok hat, pis siyabit
(rectangular hand-woven scarf tied on
the head or hung loosely over one
shoulder); Kris (wavy knife) or Barong (leaf-
knife).
Suggested Footwear : dancers are in barefoot
Music : 2/4 and 4/4; composed of three parts: A, B and

C. Gabbang- bamboo xylophone shaped
like a small boat. Bamboo slats thinned
and cut to graduated sizes to produce three
octaves of pentatonic scale
Count : 1, 2 to a measure in 2/4 time signature

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1, 2, 3, 4 to a measure in 4/4/ time
signature
PANGALAY
Dance Researcher : Francisca Reyes-Aquino

Meaning : Finger nail
Dance Culture : Lowland Muslim (Coastal)
Place of Origin : Sulu
Country of Influence : Thailand, Malaysia, Burma, Cambodia and
Indonesia
Ethno-linguistic Group : Tausug
Classification : Social Dance
http://images.search.yahoo.com/search/images;_ylt=A0PDoX5F909Qah8A0iSJzbkF?p=p
angalay%20dance&fr=yfp-t-521-s&ei=utf-8&n=30&x=wrt&fr2=sg-gac&sado=1
Background/Context:
Pangalay (also known as Daling-Daling or Mengalai in Sabah is the

traditional “fingernail” dance of the Tausūg people of the Sulu Archipelago and

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Sabah.[1] This dance is the most distinctively Asian of all the Southern Philippine
dances because dancers must have dexterity and flexibility of the shoulders, elbows,
and wrists[2] – movements that strongly resemble those of “kontaw silat,” a martial art
common in the Malay Archipelago. The Pangalay is performed mainly during
weddings or other festive events [1]. The male equivalent of the Pangalay is
the Pangasik and features more martial movements, while a pangalay that features
both a male and female dancer is called Pangiluk.
The original concept of the Pangalay is based on the pre-

Islamic Buddhist concept of male and female celestial angels
(Sanskrit: Vidhyadhari, Bahasa Sūg: Biddadari) common as characters in other
Southeast Asian dances.
Dance Properties:
Costume : Dancer wears a typical Joloana costume

Accessories : Expert and professional dancers use janggay,
extended metal finger nails in each finger. The rich
people have janggay made of solid gold or silver.
Suggested Footwear : dancers are in barefoot.
Music : Played as many times as necessary.
Count one, two or one, and, two and to a measure.
Movements/Steps Particular to Dance:
There are no definite directions, sequence of figures, number and kinds of

steps, hand movements and positions used when performed by the natives. For
teaching purposes the figures of this dance may be created and dancers may form
their own combinations.
TIKLOS
Dance Researcher : Francisca Reyes- Aquino

Meaning : Refers to a group of peasants
Place of Origin : Panay and Leyte
Country of Influence : China, Burma and Cambodia
Classification : Recreational Dance

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www.folkdance.tk
Background/Context:
For centuries, Tiklos has been a very important factor in the social life of the
peasants of Leyte. Tiklos refers to a group of peasants who agree to work for each
other one day each week to clear the forest, prepare the soil for planting, or do any
odd job in the farm, including the building of a house. At noontime, the people gather
to eat their lunch together and to rest. During this period, Tiklos music is played with
a flute accompanied by a guitar and the guimbal or the tambora (kind of drum).
The music of Tiklos is also played to gather the peasants before they start to
work.
Dance Properties:
Costume : Dancers are dressed in working costumes.

Music : Divided into two parts. A and B.
Count : one, two or one, ah, two, ah or one, and, two to a measure.
Formation : Partners stand opposite each other about six feet apart.
When facing audience, the girl stands at partner’s right side.
One to any number of pairs may take part in this dance.

181
SAKUTING
Dance Researcher : Francisca Reyes Aquino

Meaning : Refers to rhythmic sticks producing the
accompaniment for the dance.
Place of Origin : Abra and Ilocos Norte
Country of Influence : China
Classification : Recreatinal and Social Dance
flickr.com
Background/Context:
This is a dance of the ethnic people living in the western side of the
Cordilleras way back before the coming of the Americans to our country. During the
Christmas, young boys and girls accompanied by their elders would go to the
lowlands, especially in Abra and Ilocos Norte to dance in front of the houses and ask
for gifts. These young children hold sticks, one on each hand and strike them
together to make their dance more lively. The homes would give them money,
homemade delicacies and other things.
These dancing groups later reached as far as the coastal towns of Ilocos
region as years went by. The rhythmic sounds produced by the stick attracted other
children and also adults and they also learned the dance.
“Sakuting“ is an ethnic term which refer to the rhythmic sticks producing the
accompaniment for the dance.

182
Dance Properties:
Costume : Girl – Native Ilocano kimono style with sleeves of elbow length;
skirt of bright-colored plaids shirred at the waist of ankle-length.
Boy – Camisa de chino and red trousers, and a native hat.
Music : 2/4 and ¾ rhythms and composed of 9 parts : A, B, C, D, E, F, G, H

and I.
Formation : Audience
X O
O X
X O
O X
One set of dancers
Written Check-up:
Below are jumbled letters which when arranged correspond to regional

and national dances. Can you identify each? On a page in your activity notebook
put numbers from 1 to 5. Write each formed word on the space provided before
each number and try to share your knowledge about it.
_______________1. GANAPYAL
_______________2. LABISNIKAN
_______________3. ASU UK ASU
_______________4. SIOTLK
_______________5. GIKNATUS

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Were you able to arrange the jumbled
letters correctly? Please remember that
the jumbled letters reflected on items 1-
5 are the actual names of the dances
which you are about to learn. To a certain
extent, knowing the names of the folk
dances could lead you to create certain
impressions that are innate to the
cultural background of the dance.
To further measure how retentive
your memory is, try to answer the next
activity by recalling the significant
details of the different dances below.
B. In your activity notebook or sheet, copy the table as shown and fill it in with
information called for.
Name of Literal Place of Dance Influenced

Dance Meaning of Origin Classification by what
the Name of Asian
the Dance Country?
Sua-Ku-Sua Social Dance China,
Malaysia,
Indonesia
With the use Lingayen,
of sticks Pangasinan
Sakuting Abra Social Dance
Tiklos A group of Leyte Recreational/Social
peasants Dance
Pangalay Wedding Dance Malaysia,
Indonesia,
Malaysia,
Thailand,
Burma and
Cambodia
Note to the learner: You are free to choose one dance.Focus your attention to the
dance you have selected.

184
Have you filled out the correct
information in the table above? After
knowing the important concepts
derived from the previous learning, try
to strengthen your understanding by
doing the following activity.
Activity 1: Tracing the origin and location of a Dance through its costume.
WHERE DO I BELONG?
This activity will activate your knowledge on the location and origin of folk dances
based on the costumes worn by the dancers in the video presentation. This will be
done during your contact time with your teacher.
1. In a sheet of paper, write the place of origin of the dances you saw in the
video presentation by recognizing the costumes and props, facial expressions
and body gestures of the performers. Your teacher here will show you a video
presentation of different dances with Asian influence like Singkil, Kappa
Malong, Pangalay, Sua-ku-Sua, Sakuting, Binislakan, Tiklos etc. If video
presentation is not possible, your teacher will show you different pictures of
costumes and props that are used for certain dances in various places of the
country.
Choose one from the following choices:

a.Luzon
b.Visayas
c.Mindanao.

185
Were you able to successfully
trace the place of origin of all the
dances presented? If so, try to
apply your learning on the next
activity. However, if you missed
some important points, ask your
teacher to help you analyze the
lesson before doing the next
activity.
Activity 2: DRESS ME UP!
This activity will activate your knowledge on the location and origin of folk
dances based on the costumes worn by the dancers. Study the procedures given
and do what is asked of you to perform.
 Prepare a miniature boy and girl dancers made of cartolina and post it on the
board. Create different regional costumes in the Philippines made of Manila paper.
 Dress up the miniature dancers and name the province where they come from.
 In tracing where the costumes are usually worn, consider the geographic location
or terrain where the costumes are suited and the respective props used by the
dancers and even their facial expressions.
 Be ready to share your knowledge about the origin and background of the folk
dances considering their costumes, expression and implements used. Justify your
answers.

186
Did you enjoy the activity? Did you
observe cooperation and teamwork with
members of your group while doing the
task? If you did, congratulations for
having done a great job! So you are now
ready to go to the next level. You are now
faced with a bigger challenge this time
by doing some movements. Here, you will
have a chance to express your feelings by
doing some rhytmic patterns that will be
needed for the dances cited.
LESSON II
Rhythmic Patterns of Selected Regional and National Dances with Asian Influence
Activity 3. Listening While Playing
1. Close your eyes and listen to the recorded music of Sua-ku-Sua and
Pangalay. What is the time signature of the music? Is it done in duple, triple,
or quadruple meter? Why do you say so?
2. Feel the beat and rhythm of the music and do the following activities with your
eyes now open:
a. Clap your hands in time with the music.
b. Stamp your feet and do some rythmic improvisations using the same
music.
c. Use any materials that could be used as percussive instruments as in
beat-box and produce rhythmic sounds.
d. Use body gestures or accompany it with vocal sounds in time with the
music being played.
3. For variation, repeat items 1-2 using the recorded music of Tiklos, Binislakan
and Sakuting.

187
Well done! How did you feel
while performing the activity?
Do you think that feeling the
beat and rhythm of the music
plays an important role in any
dance performance in so far
as proper timing is
concerned? You will find the
answer after doing the next
activity.
Now you can do another
activity to enhance the skills
you’ve learned.
Part II- WHAT TO PROCESS
In this activity, you’ll learn the importance of rhythm in the performance of folk
dances.
Activity 4: Let’s Get Loud!
1. Your teacher will group your class into four.

2. Using any medium for sound production, you and your groupmates will
produce sound in time with the rhythm of the music commonly used in the
regional and national folk dances. Using the douple meter as your basis in
producing the sound, divide your group into two and create different rhythmic
combinations for 16 measures to be played simultaneously with your
groupmates.
You can use any of the following that could produce sounds:
a. clapping your hands

b. stampping your feetproducing vocal sounds
c. snapping your fingers
d. using any materials as percussive instruments

188
3. This time, create rhythmic combination using the triple meter for another 16
measures.
4. Always observe the principles of accent, intensity, dynamics, and tempo in

your routine.
5. After a ten-minute rehearsal, perform your output in class. Perform the

rhythmic combination in douple meter first, then the triple meter or vice versa.
Refer to the following rubrics to be used for evaluation.
6. After the group performance, discuss in class the importance of rhythm in the
performance of folk dance.
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE IN RHYTHM
Weight Musicality Degree of Difficulty Characterization
(Timing, Dynamics, (Complexity and (Behavior During

and Mastery) Intricacy in the Use Performance)
of Rhythmic
Patterns in Various
Meters)
40% 40% 20%
MASTERFUL: Performs SKILLFUL: Creates skillful MATURE: Demonstrates

rhythmic composition with composition of complex proper characterization and
high level of musicality while and intricate rhythmic appropriate behavior in the
5
observing proper timing, patterns in duple, triple, performance and with high
dynamics and mastery and quadruple meters. level of confidence
STRATEGIC: Performs COMPETENT: Creates a SENSITIVE: Demonstrates

rhythmic compositions with a certain degree of skillful proper characterization and
certain level of musicality composition of complex appropriate behavior in the
4 performance and with a
while observing proper timing, rhythmic patterns in
certain level of confidence
and mastery but with limited duple, triple, and
ability to perfom with quadruple meters.
dynamics
3 ABLE: Performs rhythmic PRACTITIONER: Creates a AWARE: Demonstrates

compositions with mastery commonly accepted generally acceptable
and limited but growing ability composition of simple characterization and proper
to perform with timing and rhythmic patterns in behavior towards the
dynamics duple, triple, and performance and with a
quadruple meters. certain level of confidence

189
APPRENTICE: Performs APPRENTICE: Creates DECENTERING: Displays
srhythmic compositions with rhythmic patterns but inconsistent
general mastery but could could hardly distinguish characterization and
2
hardly adapt to varying differences among duple, demonstrates low level of
dynamics and timing triple, and quadruple confidence
meters
NOVICE: Performs rhythmic NOVICE: can not create EGOCENTRIC: Has little or
patterns with low or no any rhythmic pattern at all no characterization and
mastery, timing, and dynamics behaves inappropriately
1
towards the performance
You’re smart! Now I think

you’re ready for the next
activity which is more
challenging than the previous
one. Keep going. 

190
PART III- WHAT TO REFLECT AND
UNDERSTAND
Activity 5- Fill-in-the-Gap
1. In this activity, I have learned to realize that ________________________.

2. I can create rhythmic patterns by ________________________________.
________________, and using
any_______________________________.
3. To be able to make rhythm complete, the principles of accent, intensity,
__________ and _______ should be observed.
4. I can make my life more colourful and meaningful by
being_______________ in the same manner as it can be applied to music.
5. For me, rhythm is just as important as _____________ because without it,
________________.
Now that you have realized the importance

of rhythm, you may now apply the
knowledge you gained to the next activity
which is important in the performance of
any dance.

191
Activity 6- DANCE INTO THE GROOVE!
With the same grouping that you had in Activity 4, Let’s Get Loud, perform
again the rhythmic combinations that you composed while doing the
following:
1. Based on videos you saw earlier in the Pre-assessment Activity and

Activity 1, create a dance-improvisation using any hand or body
movements that would jibe with the sound or rhytmic pattern you
created.
2. Always observe the elements of space and movement while doing the
routine.
3. Perform the whole routine of dance and sound improvisations with

proper expressions and gestures.
Did you enjoy the activity? You must be

sweating out now. Perspiring while doing the
activity is a good indication of good health
because your heart beats faster as it
pumps harder while dancing. You know
pretty well that dancing is a good exercise,
thus, you are keeping your heart healthy.
Since you have already started doing
some movements, it’s now time for you
to test your own dancing skills by doing
the next activity. Enjoy and have fun
while mastering the rudiments!

192
LESSON III
Basic Steps in Folk Dancing
In this lesson, you will be made familiar with the basic steps and arm
movements of the dances: “Binislakan, Sakuting, Sua-Ku-Sua, Pangalay and
Tiklos”. This will give you a clear understanding of the nature of these folk dances.
If you study the literatures of these dances found at the end of this module,
you will notice distinct steps and movements that are inherent in each dance.
The following dance terms and dance steps are basically used in Binislakan,
Sakuting, Sua-Ku-Sua, Pangalay and Tiklos. You are to master all these dance
steps which will be used later in your performance test. Study them carefully and
demonstrate the dance steps with the help of your teacher.
Padyak - to stamp or tap with one foot and the weight of the
body is on the other foot
Saludo - it means to bow
Arms in Lateral Position - both arms are in one side at shoulder level, either
right or left
Set - a dance formation of two or more couples
Bend - to move the body or part of the body around wide
axis
Leap - to spring one foot and land on the other foot
Study and analyze the

following table. The
information given will
be needed in your dance
performance. Stay
focus! 

193
No. of counts or
Dance Step Music Used M per step Step Pattern
Slide (glide) 2/4 or ¾ 1M slide, close
Skip 2/4 or 6/8 1 ct. step and hop
Bleking 2/4 or ¾ 1, 2 or 3 cts. heel-place, close
Gallop 2/4 or 6/8 1 ct. step and cut
as many as step, step, step and so
Mincing 2/4 or ¾ required on
as many as
Parallel Tortillier 2/4, 3/4 or 4/4 required pivot and turn heels, pivot
and turn toes
Pivot Turn 2/4, 2M or 4M Step, ball and turn, step,
ball and turn and so on.
Touch Step 2/4 or ¾ 1, 2 or 3 cts. Touch , close
Change Step 2/4 or ¾ 1M Step close Step
Execute 2 waltz steps to

Waltz turn 2/4 or 3/4 2M make a turn
Step R; step L close to R
Waltz step 2/4 or 3/4 2M in rear; step R
Stamp(R) (L) and close
Stamping 2/4 or 3/4 1M to supporting foot(L) (R)
Your teacher will guide you in using the following legends in the interpretation and
execution of a particular dance step.
M = Measure
F = Forward
B = Backward
R = Right
L = Left

194
Activity 7: Tell Me!
In this part, you will be given basic steps, arm and bodily movements that are
used in Binislakan, Sua-Ku-Sua, Sakuting, Pangalay and Tiklos. Identify what is
being defined.
1. Both arms are in one side at shoulder level, either right or left.
2. To stamp or tap with one foot and the weight of the body is on the other
foot.
3. To spring one foot and land on the other foot.
4. To move the body or part of the body around wide axis.
5. A dance formation of two or more couples.
Congratulations for having

gone this far! Reaching this
part is a clear indication of
your willingness to learn
more. Now, maximize your
potential by memorizing and
performing with mastery the
basic steps of the regional
and national dances.

195
PART II : WHAT TO PROCESS
Activity 8: DANCE WITH ME!
In this part, you will be given practical applications of the basic steps, arm and
bodily movements used in Binislakan, Sakuting, Tiklos, Sua-Ku-Sua and Pangalay.
Read the instructions and make sure to follow them correctly.
 Look for a partner and execute the rhythmic steps or dance steps that
are commonly used in Binislakan, Sakuting, Sua-Ku-Sua, Tiklos and
Pangalay.
 Out of the dance steps you learned, create dance-step combinations.
 The following rubric will be used to evaluate your performance.

196
ANALYTIC RUBRIC FOR THE ASSESSMENT OF LEARNERS’ PERFORMANCE IN FOLK DANCE
Weight Choreography and Execution and Characterization and

Artistic Presentation Mastery of Steps Behavior During
Performance
30%
40% 30%
OUTSTANDING: Performs SKILLFUL: Demonstrates SOPHISTICATED:

steps with high level of precise and skillful Demonstrates sophisticated
mastery while creating execution of the steps characterization and
5
several formations in the with high level of appropriate behavior
dance floor confidence towards the dance and
groupmates
DYNAMIC: Performs steps COMPETENT: EXPRESSIVE: Demonstrates

with mastery while creating Demonstrates the steps an atypical level of
sufficient formations in the competently and with characterization and
4
dance floor confidence appropriate behavior
towards the dance and
groupmates
CREATIVE: Performs steps PRACTITIONER: REALISTIC: Demonstrates

with mastery but with Demonstrates general generally acceptable
limited yet growing ability level of coordination and characterization and proper
to execute them while competence in the behavior towards the dance
creating formations in the execution of steps with and groupmates
3 dance floor limited but growing
confidence
FAIR: Performs steps with APPRENTICE: IMPROVING: Displays

general mastery but could Demonstrates limited inconsistent
hardly adapt to varying coordination and characterization and
2
formations in the dance competence in the demonstrates generally
floor execution of steps with acceptable behavior
low level of confidence towards the dance and
groupmates
STATIC: Performs steps with NOVICE: Has very low or MECHANICAL: Has little or
low or no mastery and is not no coordination in no characterization and
capable of creating demonstrating steps; has behaves inappropriately
1
formations in the dance very low level or no towards the dance and
floor confidence at all groupmates

197
In your performance, what grade did
you receive? Are you satisfied with
it? If your grade is low, would you
want to improve your performance if
given another chance by your
teacher? If you got a high grade in
your performance, wouldn’t you want
to share your expertise to your fellow
classmates who are still novice? What
do you think?
The next activity will allow you and your

classmates to do peer-teaching. In here,
your teacher will divide your class into
two which will allow advanced learners
to enrich their mastery and the novice
Partto
group IIIremediate
: WHAT TO REFLECT
their ANDby
weaknesses UNDERSTAND
having learning in a partner or buddy
system. Which group do you belong?
Activity 9: No Man Is An Island!
This activity aims to enrich your mastery skills in performing the dance
steps correctly while building cooperation and goodwill with your
classmates.You are going to join with rhe regular class.
1. Group yourselves into two. Group A for those who are familiar with the dance
and Group B for those who are still quite unfamilliar with the dance.
2. Those in group B should choose a partner in group A.
3. Your teacher will provide a list of step patterns with a minimal set of
combinations and directions for you to execute.
4. Help each other in interpreting correctly the step patterns provided.
5. Your teacher will supervise you as he/she guides you in doing the activity.
6. After the given time alloted by your teacher, a performance assessment will
be given.
7. Try to provide feedback on the performance of the other groups.

198
How did you feel while doing the
activity? If you belong to Group A,
what did you feel while teaching your
classmates? Does it make you proud
having done so? If you belong to
Group B, how did you feel while you
were being taught by your classmate?
Were you a bit embarrassed or
intimidated?
In life, we need one another. We need to cooperate and help those who are
in dire need. Along the way, we also need to seek guidance from people who are
knowledgeable on certain issues. Life should be based on a give - take - process.
That way, we can create harmonious working relationship in our community. This
principle is also applied in the teaching – learning - process of a dance
performance.
To measure how effective this

activity is, you will now demonstrate
more cooperation and harmony by
showing better performance through
the next activity. Let’s see if you
have improved.

199
PART IV : WHAT TO TRANSFER
Activity 10: Watch Me!
This activity will help you check your knowledge of the basic rhythm and step
patterns of folk dances. Select one of the folk dances given.
1. Make a prelude of the dance Binislakan by presenting a typical scenario of

what is commonly seen in a barrio. Storyline should be related to the theme or
cultural background of the dance itself.
How was your dance performance?

Do you honestly believe that you
performed a lot better this time?
May Take note that performing does
not only mean dancing gracefully.
Proper expressions of the face and
body gestures are also important to
show the emotions needed in a
particular dance. The next activity
will teach you the significance of
gestures and hand movements in
finding the meaning of a certain
dance.

200
LESSON IV
In this lesson you will b able to identify the meaning of the gestures and
hand movements of the folk dance given.
Hand movements and gestures play a very important role in the whole
composition of a performance for they give life and meaning to the whole dance.
Just a simple movement of the hand or even a simple body gesture or facial
expression shown by the dancer would mean a lot in expressing the thoughts,
joy, or sorrow of the one performing.
You will discover the hidden meanings of certain gestures and hand
movements as you read and interpret the dance literature of folk dances later.
In this part, you will be

provided with motivating activities
that will establish your own
understanding of the topic and will
lead you to answer queries relative
to the performance of regional
and national folk dances with Asian
influence.

201
Part I : WHAT TO KNOW
Activity 11- GRAND TABLEAU
This activity aims to activate your creativity in conveying proper emotions and
gestures in different situations which will later be needed in the performance of Folk
Dances. You will be joining with the regular class.
The following instructions will be facilitated by your teacher.
1. Your classmates and you will be grouped into five.

2. The leaders of the five groups will be asked to draw lots. Each piece of paper
describes one particular scene to be portrayed by the group. For one minute, you
and your groupmates will conceptualize a typical scenario given these situations:
a. Fishermen pulling up their fishnet from the sea
b. Farmers harvesting bountiful grains
c. Fiesta celebration of your town
d. Wedding ceremony
e. A man courting a lady
3. After conceptualization, another 10 seconds will be given for your group to act out
the scenes that you have planned, exhibiting the proper facial expressions and
hand or bodily gestures.
4. During your meeting, your teacher will discuss on the importance of exhibiting
proper expression and gestures in performing activities like dance, music, theater
and other performing arts.

202
Part II : WHAT TO PROCESS
Did you have fun doing the

activity? I guess so. Now, you are
tasked to apply these learned skills
into the next activity. Applying
emotions and gestures to the step
patterns that you’ve learned will be
more exciting. Good luck! Have fun

Part III : WHAT TO REFLECT AND UNDERSTAND
Self- Check:
Put a checkmark on the appropriate line.
To what extent did you learn the dance in terms of:

1. cultural heritage?
___________to a great extent
___________to a moderate extent
___________to a lesser extent
2. cultural values?
____________to a great extent
____________to a moderate extent
____________to a lesser extent
3. movements?
4. cultural appreciation?

203
Reflection
How is life connected to dancing? Can

you explain this?
In life, we always aim to be successful. One way to attain our goals is for us to stay
focused just like the focus that is needed while learning the steps in dancing. We need
to put our heart and mind into the things we do to in order to gain mastery. Through
dancing, we may be able to develop health fitness, such as having cardio-vascular
endurance, flexibility and strength which are key factors in achieving success.
Part IV- WHAT TO TRANSFER
Activity 13- CONTEMPLATION!
Answer the following questions.
 What is the importance of proper expressions in folk dancing?

 How are the movements shown in Binislakan, Tiklos, Sakuting, Sua-
Ku-Sua and Pangalay reflect the kind of life people have on those
places?
 Compare the expressions exhibited in the performance of folk dance of
Luzon with that of Visayas and Mindanao.

204
Congratulations! You’re smart to
be in this level. Check the next
activity. Try as much as you can to
study and analyze the step-
procedures of the dance
literature. This part requires
patience and understanding for
you to interpret perfectly the
dance. Have patience Good luck!
LESSON 5
Interpret dance literature of Binislakan, Tiklos, Sua-ku- Sua, Pangalay and

Sakuting
It is very enriching to be able to interpret a dance literature. Since folk dances

are documented, it is always an edge to correctly interpret the text of a dance
literature. Herewith are the dance figures of the four dances. It is hoped that through
these dances, your ability to interpret dance literatures will lead for you to appreciate
other folk dances.
Note to the learner: One dance should only be taught by your teacher for the fourth
quarter. However if there is still time for you to lear one more dance or all of the five
dances, then that will be a lot better.

205
BINISLAKAN (Lingayen)
INTRODUCTION
Music Introduction
Partners face audience.
(a) Cross sticks overhead; R-hand stick over L-hand stick and
look
upward........................................................................................3M
(b) Bend trunk forward and bring down point of crossed sticks
close to
floor......................................................................................1M
Music A.
Face audience.
(a) Starting with R foot, take four change steps sideward right
and left alternately, raising alternately the L foot and R
foot slightly above the floor;bend trunk sideward right and
left alternately. Strike sticks sideward right and left
alternately, three times to a measure, R,L,R,L,R,L (cts. 1
and 2) to every
measure.....................................................................4M
(b) Execute mincing steps sideward right. Strike sticks
overhead four times to a Measure, R,L,R,L,R,L alternately.
Look
upward.......................................................................................2M
(c) Bend knees and twist trunk to left; strike sticks backward
R,L,R(cts.1 and 2); look backward
right..............................................1M
(d) Straighten trunk and stamp foot R,L,R (cts. 1 and 2). Strike
sticks R, L, R In front of
chest.............................................................1M
(e) Starting with L foot, repeat (a-d) to opposite direction, stamp
feet
L,R,L...........................................................................................8M
II
Music B.
Face audience.
(a) Paw (like scratching foot backward) L foot backward and at
the same timeStep R foot sideward four times, step on R
foot with springy movementsLike small leap; bend trunk
slightly sideward right; R hand bend in frontin level with
head, stick pointing toward audience; L hand down in rear,
stick pointing sideward left; look at left shoulder (cts.
1,2,1,2)........................................................................................2M

206
(b) Tap L foot in front two times; bend trunk forward that foot
and strike sticks twice In front close to the tapping foot (cts.
1,and); straighten trunk and step L close to R foot, strike
sticks once in front........................................................................1M
(c) Repeat (b) with R foot, bend trunk toward R foot.........................1M
(d) Repeat (a-c), in reverse direction and position.............................4M
(e) Face partner and repeat (a-d).......................................................8M
III
Music A.
Face audience.
(a) Jump forward and bend trunk forward. Cross sticks R
stick over L stick Below knee level...............................................1M
(b) Straighten trunk and raise gradually the sticks overhead;
sticks are still crossed. Look upward.............................................1M
(c) Repeat (a) and (b).........................................................................2M
(d) Execute mincing steps going backward; arms are in
reverse “T” position And shiver sticks sideward. Bend head
sideward right and left every two counts......................................2M
(e) Execute mincing steps turning right about, finish facing
away from audience (1M). Raise R knee and strike sticks
once under it (ct.1), straighten knee feet together and strike
sticks once in front (ct.and), raise L knee and strike sticks
once under it (ct.2).........................................................................2M
(f) Repeat (a-d), facing away from audience......................................6M
(g) Repeat (e); finish facing audience.................................................2M
IV
Music B.
Partners face each other. Boy and Girl do their movements simultaneously.
Girl’s Movements:
(a) Starting with R foot, execute eight change steps going
clockwise around Boy. Strike sticks overhead and at the back
alternatelythree times toa measure. Strike sticks at the back.
Kneel on both knees on the last count.........................................8M
(b) Do the movements of Boy below (a-c). Finish facing
audience........................................................................................8M
Boy’s Movements:
(a) Kneel on both knees and strike sticks on the floor at the
207
right side three times (cts. 1, and 2); strike sticks overhead
three times upward (1M); strike sticks at the left side on the
floor three times (1M); strike sticks overhead three times
(1M.................................................................................................4M
(b) Repeat (a); stand at the last count.................................................4M
(c) Repeat movement of Girl (a). Finish facing audience....................8M
Music A.
(a) Take one change step sideward right (cts. 1,2), raise L
foot above the floorin (ct.2), bend trunk sideward right
and strike sticks to sideward right threetimes to a measure
R,L,R.............................................................................................1M
(b) Repeat (a) three times more, to ideward left and sideward
right alternately. Raise R foot above the floor when doing
the change step to sideward left and strike sticks L,R,L..............3M
(c) Face partner and strike sticks on floor in front, full knee
bending R knee lower than L knee (cts. 1,ah,and,2,and)............1M
(d) Stand, straighten trunk, and strike sticks, R,L,R,L in front
(cts. As in (c) )...............................................................................1M
(e) Step R foot forward (ct.1) hop on R foot, raise L foot slightly
close to R foot, strike both sticks diagonally right head level,
with partner (ct.and). step L foot sideward (ct.2), hop on L
foot, and strike sticks diagonally left with partner (ct.and).............1M
(f) Stamp feet R,L,R, strike sticks in front R,L,R (cts.1, and 2)..........1M
(g) Repeat (a) and (b), facing audience..............................................4M
(h) Repeat (c) and (f), facing audience...............................................4M
VI
Music B.
(a) Starting with R foot, execute two change steps going

forward to meet partner at center finish in one line. Girl in
front of Boy,facing audience. Strike sticks three times R,L
R overhead (look upward) (cts. 1,and 2).......................................2M
(b) Starting with R foot, execute six change steps right and
left alternately,Going around clockwise. Strike sticks as in
(a). Finish in a circle facing center.................................................6M
(c) Starting with R foot, take four change steps going toward
center.Strike sticks as in (b)...........................................................4M

208
(d) Repeat (c), going backward; finish facing right..............................4M
Saludo
Music Finale.
(a) Execute mincing steps going counter clockwise; finish

in line formationfacing audience as in Figure I. Arms in
reverse “T” position and shake sticks sideward; bend
head sideward right and left alternately every two
counts............................................................................................3M
(b) Stamp feet R,L,R and strike sticks overhead R,L,R (cts.1
,and 2). Look
upward...........................................................................................1M
(c) Mincing steps, turning right slowly; finish facing audience;
sticks are still crossed overhead and looking upward..................3M
(d) Feet together, bend trunk slowly forward, bringing down
the crossed sticks below knee. Sticks touch floor in the last
count..............................................................................................1M
SUA-KU-SUA
Introduction
Music introduction
Pause
Music A.
Partners face audience. Throughout this figure, the knees are slightly bent
and turned outward. Arms extended sideward with a fan in each hand.
(a) Take 32 walking steps forward turning the hand from the
wrist down and up alternately on every count (figure of
eight). Bend the head sideward rightand left alternately in
time with the hand movement................................................................ 8M
II
Music B
(a) Place R heel forward, arms sideward (cts.1,2), take
six steps in place, move hands as in Figure I (cts. 3, 4; 1
2, 3,4).......................................................................................... 2M
(b) Place R heel forward two times (cts. 1, 2, 3, 4).............................1M

209
(c) Take four steps turning right about in place, arms and
hand movements as in (a).............................................................1M
(d) Repeat all (a-c). Finish the turn facing partner..............................4M
Music C
Partners face each other.
(a) With arms in fourth position, L arm high, step R forward
and raise L foot in rear, turning the hands down (ct.1),
step L in place, turning hands up(ct.2), step R backward
and raise L foot forward, moving R arm to 2 nd position
and turning hands down (ct.3), step L foot in place turning
hands up (ct.4).............................................................................1M
(b) Take four walking steps forward to be in line with partner
by R shoulders, arms and hand movements as in Figure I
.(cts. 1, 2, 3, 4)..............................................................................1M
(c) Repeat (a) and (b). Finish in partner’s place............................... 2M
(d) Turn left about and repeat (a-c). Finish in proper places
(Partners are by L shoulders in (b)...............................................4M
IV
Music A
Partners face each other
Arm Position : Place both arms in front at waist level. Wrist of R hand is
up, finger tips pointing downward, while the L hand in
reverse position. R hand is in front of L.
Arm Movement : With wrist leading, raise R hand up and pull L hand down,
palms in (ct. 1), flip hands to reverse position and
movement (ct.2). Repeat same (ct.2)
(a) Step R across L in front (ct.1), step L sideward (ct.2).

Repeat same (cts. 3, 4).................................................................1M
(b) Repeat (a) three times more moving in a circle
clockwise, always facing partner. Boy finishes facing
audience while Girl finishes behind the Boy..................................3M
(c) Girl: repeat (a) and (b) moving clockwise while facing
the line of direction Boy: repeat (a) and (b) in place......................4M
V
Music C
(a) Take three walking steps obliquely forward left (cts.
1,2,3), turn right about pivoting on the ball of R foot
and raising L foot across the R knee in rear (ct.4).
From 2nd position, move the arms downward-forward
(as if scooping). Finish with the palms up (cts. 1,2),
turn both hands toward chest inward. Continue the turn

210
and end up with arms forward palms facing front, finger
tips in (ct.3), pull hands outward away from each other
(ct.4)...............................................................................................1M
(b) Repeat (a) starting with the L foot turning left about......................1M
(c) Repeat (a) and (b) two times more................................................4M
(d) Boy: take seven walking steps obliquely forward
left, arms and hands as in Figure I (cts. 1,2,3,4; 1,2,3),
point L foot sideward (ct.4).
Girl: take four steps turning right about in place (cts. 1
2,3,4) and three steps in place (cts. 1,2,3), point L foot
sideward (ct.4). Hand movement is the same as that of Boy........2M
NOTE: Partners are now in one line facing front, Girl at partner’s right side.
VI
Music A.
(a) Step L across R in front (ct.1), step R sideward (ct.2),

arm and hand movement as in Figure I. Repeat same
two times more (cts.3,4; 1,2), step L sideward (ct.3),
point R foot sideward (ct.4)...........................................................2M
(b) Repeat (a) starting with the R foot moving to the
opposite direction.........................................................................2M
(c) Repeat (a) and (b). Close feet together on the last count.............4M
VII
Music B.
Girl turns left about so that R shoulder is toward partner. Extend R arms
sideward, hand of Girl on top of boy’s hand, L arms are raised overhead.
(a) Starting with the R foot, take sixteen walking steps
forward moving half-way clockwise. Finish in partner’s
place..............................................................................................4M
(b) Turn about and repeat (a) moving counter clockwis
with the Boy following the Girl. Reverse position of hands.
Finish in proper places..................................................................4M
VIII
Music B
(a) Step R forward and move arms to 2nd position (ct.1),
raise L foot close to the R knee. Raise arms overhead
and flip hands down (ct.2), cross turn right about in
place. R arm up. Shake L hand obliquely sideward-
downward (cts. 3,4; 1,2,3,4).........................................................2M
(b) Repeat (a) with the L foot. Reverse position of arms...................2M
(c) Repeat (a) and (b)........................................................................4M

211
IX

(a) Take four walking steps to Girl’s place. Hands as in
Figure VII (d)................................................................................1M
(b) Place R heel forward. Bend trunk forward and place
R and L cheek close to that of partner alternately four
times (cts. 1,2,3,4). Fans are held close to waist........................1M
(c) Take four walking steps to the center...........................................1M

(d) Repeat (b).....................................................................................1M
(e) With fans held sideward-downward, palms down,
stamp R foot five times in place(cts. 1, and 2, and 3).
Flip fans and strike the thighs with the fans (ct.and),
Raise arm sideward, palm down (ct. 4).........................................1M
(f) Take four steps turning right in place, arms obliquely
sideward-downward.......................................................................1M
(g) Repeat (e) and (f)..........................................................................2M
(h) Take eight steps turning right. Finish facing front..........................2M
Music B
(a) Starting with the R foot, take four walking steps

forward to meet partner
at center, arms as in Figure I.........................................................1M
(b) Place R heel forward. Girl leans back with hands
close to hips, palms facing front. Move head sideward
left and right alternately four times. Boy taps R
and L shoulder of the Girl with the fan held by the R
hand alternately four times (as if chopping) (cts. 1,2,3,4)..............1M
(c) Take four walking steps to Boy’s place. Boy moves
backward while Girl moves forward. Arms as in (d)......................1M
(d) Repeat (c). This time the Girl does the choppy
movement and the Boy, the head movement................................1M
(e) Take four walking steps to center. Boy moves
forward while the Girl moves backward.........................................1M
(f) Repeat (e)......................................................................................1M
(g) Stamp R foot five times in place (cts. 1, and 2,
and 3), raise R foot and hit the thighs with both
fans (ct.and), flip fans outward (ct.4)............................................1M
(h) Three-step turn right in place (cts.1,2,3), close
feet together (ct.4). arms down at sides, tips of

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fans facing sideward-outward........................................................1M
(i) Repeat (g) and (f)..........................................................................2M
(j) Starting with the R foot, take four walking steps
(Boy moving forward, Girl moving backward).
Arms in reverse “T” position, fans facing front (cts
1,2,3,4). Sway fans in a figure of eight for every count................1M
(k) Boy bends trunk forward while Girl leans backward.
Move the heads (Boy to right side, Girl to left side)
(ct.1), reverse the direction (ct.2), repeat the same
(cts.3,4)..........................................................................................1M
(l) Repeat (j) and (k)...........................................................................2M
(m)Take four steps to face front, arms as in (f)...................................1M

(n) Two steps to turn right in place and pause....................................1M
FINALE
(a) Step L sideward (cts. 1,2), step R across L in front,

knees are slightly bent (cts. 3,4). Twist trunk to the
right, R arm obliquely downward-sideward,
L arm obliquely forward-upward shaking fans (cts.
1,2,3,4)..........................................................................................2M
Dancers sing as they perform the dance. The natives often repeat the dance as
many times as they like or until they are made to stop. The song goes this way:
Music A. Sua-ko; Sua-ko, yampa tia num

Sua-ko; Sua-ko, yampa tia num
Ah-Mag dahon pa unom unom
Ah-Mag dahon pa unom unom
Music B. Bang ma-ka tum-tum panon

Bang ma-ka tum-tum panon
Ah atay ko mag ka gomon
Ah atay ko mag ka gomon
Music C. Kan ka pilaran, cambia sara-ran

Di ka dua han, di ka imanan
Ah magpe-pin-tas, ha-la-man
Ah magpe-pin-tas, da koman

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My little orange tree I had planted,
With its six lovely green leaves,
Reminds me of her,
Thus causing my heart to beat.
That loveliest beauty among the many,
That pretty one I cannot change,
Walking hurriedly along the street
Hand in hand with me-I
To that lovely beauty I lost my heart.
Source of Lyrics: Philippine National Dances

Mrs. Francisca Reyes Tolentino
Literal Translation of the Song by Lt. Alpad Arasad
Source of Lyrics: Philippine National Dances
Mrs. Francisca Reyes Tolentino
Literal Translation of the Song by Lt. Alpad Arasad
PANGALAY
Philippine Folk Dances
Francisca Reyes Aquino
Entrance
Starting with R foot, walk to center of the room. Both arms down at
sides palms down fingers together and pointed outward. Take 1 count for each step.
4M or 8M
I
Face audience
(a) Slide R foot forward with only toes touching the floor (ct. 1), put
weight on same foot at the end of the slide (ct.2). Knees are
slightly bent and turned outward. R hand in front at eye level, L
hand down in rear, fingers together and hyper-extended.
Turn R hand (from wrist) counterclockwise and turn L hand
(from wrist) clockwise simultaneously. ……………..……….…….…. 1 M
(b) Repeat (a), seven more times, L and R foot alternately. Do the
same hand movements, L and R alternately in front. ..…………… 7 M

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(c) Repeat (a) and (b), moving backward to starting place. ..….……… 8M
II
R shoulders towards audience.
(a) Repeat slide step foot movement as in figure I, R, and L
alternately, eight times, moving clockwise. Arms in lateral
position, turning hands as in figure I, right and left
Sideward alternately every two counts……………………….……….. 8M
(b) Turn right about, repeat (a), moving backward to
starting place. ……………………………….…………………….…….. 8M
III
Face audience.
(a) Repeat slide-step movement as in figure I going obliquely
forward right, R and L alternately, eight times. Start with
arms down at sides, palms facing front, finger tips pointing
downward, raise arms gradually upward to head level
(4cts.), turn wrist outward so that finger tips point
upward, palms facing front, lower arms gradually
downward to starting position (4cts.) Reverse
position of arms every four counts. …………………………….……… 8M
(b) Turn right about. Repeat (a), going to starting place. ……..…………. 8M
(c) Repeat (a) and (b), going obliquely forward left in (a) …….…..…….. 8M
IV
Face audience.
(a) Starting with R foot, take eight steps turning right (clockwise)
in place (1 ct. for each step). Arms bent forward at
shoulder level, four fingers together and hyper-extended,
thumbs sticking up. Execute a figure of eight movement
with the hands every two counts, gradually stretching the
arms sideward at shoulder level. ……………………….……………... 4M
(b) Repeat (a), turning counterclockwise. Repeat same
hand movement gradually bending elbows to forward
bent position. ……………………………………………………….…… 4M
Face audience
(a) Bend toes or R foot and slide forward the bent toes (ct.1),

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at the end of the slide straighten toes and put weight on
same foot (ct.2). Raise hands in front at the eye level, R
hand on top with palm facing the front, fingers together; L
hand down, palm facing in (self)for two counts. …….……………… 1M
(b) Repeat (a), turning counterclockwise. Reverse position of
the hands every two counts, L and R hand on top alternately,
with palms facing self (when hand is down), and palms
facing front (when hand is on top). The hand that goes down
passes in front. ……..………………………..……...………………….. 7M
(c) Turn right about, repeat (a), going to starting place. …..…..……….. 8M
VI
R shoulder towards audience.

(a) Execute eight parallel tortillier steps sideward right. Start with
toes pointing sideward first, taking one count for each
movement. Arms in lateral position sideward right, palms facing
out, finger tips pointing upward (ct.1), flex wrist upward so
that finger tips point downward (ct.2).Reverse position of
the finger tips every count (or every two counts if
desired). ……………………………………………………..…….……. 4M
(b) Repeat (a), moving sideward left. Arms in lateral position,
sideward left, doing same movements as in (a). ………..…………... 4M
(c) Face audience. Repeat (a) and (b). ………………....……………….. 8M
VII
R shoulder toward audience.

(a) With knees slightly bent, execute shuffling steps forward, moving
clockwise (counting 1, and 2, and for every measure). Bend
arms upward, elbows close to waist, hands about two
inches over shoulders, palms down. Move fingers (except thumbs)
up and down alternately every count. …………….……...…….…..… 8M
(b) Turn right about, repeat (a), moving counterclockwise..…….……… 8M
Saludo
Face audience.
Place right foot in front, bend body slightly forward, head bent forward,
cross hands at wrists down in front, R hand over L, palms down. ……..……….. 2M

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Tiklos

I
Music A.
Partners face front. Throughout this figure Girl holds her skirt, Boy places
hands on waist.
(a) Starting with R foot, take two heel and toe change step forward. ……..4M
(b) Execute change step sideward, R and L. ……………………………..….2M
(c) Starting with R foot, take four steps backward to proper places……......4M
(d) Repeat all (a-d) .…………………….......…………………….……….8M
II
Music B
Partners face front. The same hand position as in figure I.
(a) Cut L backward (ct.1), cut R forward (ct.2). Repeat all (cts.1,2) …….....2M
(b) Take three gallop steps sideward right (cts.1, ah, 2, ah, 1, ah)
step right foot sideward(ct. 2) …………………………………………....….2M
(c) Repeat (a), starting with R cut backward. …………………………….…...2M
(d) Repeat (b), going sideward left. ……………………………….….…..……2M
(e) Repeat all (a-d). ………………………………………………………………8M
III
Music A
Partners face each other. Throughout this figure clap hands in front of chest in
this manner:
Clap three times (cts.1, and 2,), clap twice (cts.1, 2). Do this for 16 measures.
(a) Execute change step sideward, starting with R foot (cts.1, and,
2) hop on R and raise L Knee in front swinging L foot obliquely
right backward across R knee in front (ct.1), hop on R and
swing L foot obliquely left forward (ct.2). ………………………….………2M
(b) Repeat (a) starting with the L foot. …………………..………………..……2M
(c) Execute a three step-turn right in place (cts.1, and 2). Point L in
front (ct. 1), point the same foot close to R (ct. 2). ………………………..2M
(d) Repeat (c), starting with L foot and turning left. ………………………......2M
(e) Repeat all (a-d). ………………………………………………..……….…….8M
IV
Music B

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Partners face each other. The same position of hands as in figure 1.
(a) Take two touch step in front (R, L). …………………………….………….2M
(b) Jump to cross R in front of L (ct.1), jump to cross l in front of R
(ct. 2), jump to cross Run front of L (ct.1) jump to
close R to L (ct.2). ...………………………………………………………….2M
(c) Repeat (a) and (b), starting with L foot. ……………………..………...…...4M
(d) Repeat all (a-c). ………………………………….........………...……..…….8M
SAKUTING

Entrance
a. Partners walk side by side in rhythm with the music with Head
Pair leading the group into formation. Finish facing partner. R
arm bent in front holding stick upward; L hand holding stick
placed behind the waist. ……………………………………………………... 16M
FIGURE I
Music A. Partners face each other.
a. Head Pair: Face the set. Weave in and out of the set and
continue until back to original places. Strike sticks R over L
on ct. 1; L over R on ct. and; R over L on ct. 2. Strike starting
L over on next measure. Pairs 2, 3 and 4: perform 32
cut-step-step in place alternately starting with L…………………….…. 32M
FIGURE II
Music B. Partners face each other.

a. Bend downward. Strike sticks 3x R and L, L over R, R over L. ………..2M
Straighten trunk. Strike sticks in front and waist level 3x L
over R, R over L and Lover R.
b. Waltz step R . Waltz L . Strike sticks 3x to a measure. ………….. 2M
c. Leap R placing L heel in front (ct. 1) to be by L shoulders
with partner; hold position (cts.2, 3). Strike L sticks with

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Partner (ct. 1); strike own sticks 2x (cts.2, 3). ………………………….1M
d. Leap on L and place R heel in front (ct. 1) to be in
back to back position with partner; hold position (cts.2,
3). Strike R sticks with partner (ct. 1); strike own sticks 2x (cts.2, 3)....1M
e. Step R and place L in front (ct. 1) to be by L shoulders
with partner (ct. 1); hold position (cts.2, 3) Strike L sticks
with partner (ct. 1); strike own sticks 2x (cts.2,3)…..…………………..1M
f. Waltz step to proper places. Strike own sticks R over L,
L over R, R over L. ……………………………………………………….. 1M
g. Repeat (a) to (f) starting L and standing by L shoulders.
Start all strikes of sticks with L over R. ……………..…………….…….. 8M
h. Repeat all (a-g).. ………………………………………..……………...….16M
FIGURE III
Music C. Partners face each other.
a. 2 waltz steps R, L moving diagonally forward. Finish

in one line with partner by L to L shoulders. Strike
sticks 3x to a measure….………….………………………..…………….…2M
b. Raise R leg in front (ct. 1); lower leg (cts. 2, 3) Strike
own sticks under raised leg (ct.1); strike sticks R over
L and L over R (cts.2, 3).….………………………………………….……..1M
c. Face partner. Strike R sticks with partner (ct. 1); strike
own sticks R over L and L over R (ct. 2, 3) ……..…………………….…...1M
d. Raise L leg in front (ct. 1); lower leg (cts.2, 3). Strike
own sticks under (ct. 1); strike sticks R over L
and L over R (cts.2, 3)……………...………………………….……….…….1M
e. Face partner. Strike R sticks with partner (ct. 1); strike
own sticks L over R and R over L (ct. 2, 3) …………..……………….…...1M
f. 2 waltz steps to proper places. Strike sticks 3x to a
measure. ………………………………..……………………………………. 2M
g. Repeat (a-f) starting L and standing by R to R
shoulders with partner. …………..…………………………………………. 8M
h. Repeat all (a-g). ……………….………...………………..…………………16M
FIGURE IV
Music D. Partners face each other.
a. Repeat (a) of FIGURE I. Finish by moving 2 small

steps to get close to partner at center on
last 2 cts. Of M. ……………………. …………………...……………….2M
b. Waltz step R . Hold sticks parallel to each other;
swing own sticks together from R side and strike
both sticks with partner (ct.1); strike own sticks R
over L and L over R (cts.2, 3). …………………………………………… 1M

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c. Waltz step L . Swing own sticks from the L side
and strike partner’s sticks together (ct. 1); strike
own sticks 2x (cts.2, 3). ……………………………………………………1M
d. With a spring, step R placing the L heel in
front to be in one line with partner at center by L
shoulders; trunk erect (cts.2, 3). Open arms at
the sides without strining sticks (ct. 1); strike own
sticks 2x with trunk erect (cts.2, 3). ………………………………..……..1M
e. Repeat (d) of FIGURE II. …………………………………………………. 2M
f. Repeat (d) of this FIGURE stepping R . ……………………………….1M
g. Repeat (f) of FIGURE II starting with L and standing
R shoulders. …………………………………………………………...…...8M
h. Repeat all (a-g). ……………………………………………....……..…….16M
FIGURE V
Music E. Partners face each other.
a. Repeat (a) of FIGURE III. …………………………………………………….. 2M

b. Waltz turn R (2M) moving obliquely forward; finish
facing each other in a single line at center.
Strike sticks together 3x to a measure. ………………………… ………….. 2M
c. Stand . . Strike R stick once with partner (ct. 1);
strike own sticks together 2x (cts.2, 3). ………………………………………1M
.
d. 2 waltz steps to partner’s place; finish facing
each other. Strike sticks together 3x to a measure. ……………………….. 2M
e. Repeat (a) to (d) and finish in proper places. Strike
L sticks together with partner. ……………………………………………….. 8M
f. Repeat all (a-c). ………………………………………………………………..16M
FIGURE VI
Music F.
New formation Audience
X 1 O
X 2 O
X 3 O
X 4 O
6”
One set of dancers
Pairs 1 and 2 form a square; Pair 3 and 4 do the same.
All face the center of each square.

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Simultaneous movements of Girls and Boys.
Girls:
a. 2 change steps to center and finish by R shoulders.
Strike own sticks together 3x to a measure; R over L,
L over R, R over L. ....................................................................................... 2M
b. 2 change steps R, L in place. Strike sticks together
with opposite (ct.1); strike own sticks 2x (cts. and, 2). ................................. 2M
Repeat movement.
c. Turn R about to be by L shoulders; repeat (b). ............................................ 2M
Boys: 8 change steps R, L alternately . . ....................................................... 8M

.
d. Girls perform Boy’s Part while Boys perform Girls part. ............................... 8M
e. New Formtion:
Boy 1 to Face Girl 2 X 1 O
All repeat (a) to (d). ...................................................................................... 8M

f. All Face partners and repeat (a-d) with partnerts. ....................................... 8M
FIGURE VII
Music G. Partners face each other.
All stand in place.

a. Bend trunk down. Strike own stick 3x to a measure
on floor or close to the ground. ……………….………………………………. 1M
b. Straighten trunk. Strike sticks in front at waist level. …………………………1M
c. Raise sticks overhead. Strike sticks overhead. ……………………………… 1M
d. Place hands behind waist. Strike sticks from behind……………………….. .1M
e. Repeat (a-d) 3x more. …………………………………………………..…..….12M
f. Face about, away from partner and repeat all (a-e). ………..………………16M
FIGURE VIII
Music H. Circle formation facing clockwise.
a. 16 waltz steps Strike own sticks 3x to a measure. ……..………………….. 16M

b. Turn R about to face and repeat (a) to finish
in a double circle formation with Boys inside
and Girl partners outside. …………………………..………………………… 16M

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FIGURE VIII
Music H. Double circle formation with Boys and Girls outside.

Girls hold their 2 sticks horizontally and parallel to each other; R stick at head level
and L stick at chest level.
a. Boys face their partners while Girls hold their

stick firmly in front. Boy- strike sticks across Girl’s
sticks R hand up and L hand low 3x to a measure
(cts.1, and, 2). …………………………………………….……………………. 1M
b. Girl – 3 step turn R . still holding sticks as in (a). ………….…………… 1M
Boy 3 step turn R moving to face the next Girl at his right.
.
c. Repeat (a). ……………………………………………….……………………… 1M
d. Repeat (b). …………………………….………………………………………… 1M
e. Repeat movements (a) and (b); partners meet each other; exit..…....…….12M
.
Were you able to understand the dance

literature? Can you interpret each step-
procedure correctly? If so,
congratulations! Just in case you have
difficulty interpreting the dance
literature, please feel free to ask your
teacher for clarification before going
to the next activity. Now, let us check
your understanding about the dance
literature that you have just studied.
Let us see if you can apply the
knowledge you learned through the next
activity.

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Part II- WHAT TO PROCESS
Activity 14-Fill-Me-In
This activity aims to assess your mastery of the basic steps in folk dancing, its
step pattern and counting.
Complete the following table by filling in the correct step pattern and counting
of the given basic steps:
Basic Step Step Pattern Number of Counts in a

Measure
Heel and toe polka Place heel, touch toe,
step, close, step
Change Step 1, 2, 3
Slide-cut-hop 1,2,3
Touch Step Step (R),Point (L) -
Mincing 1,2.3
Sua-Sua Step 1, 2
Waltz turn Execute 2 waltz steps to
make a turn
Cut-step-step Cut (displace)L with R foot
Gallop Step 1, 2
Did you get a perfect score? If

so, well done! You may now
proceed to the next part which
will surely keep you engaged to a
more exciting activity. Goodluck!

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Part III- WHAT TO REFLECT AND UNDERSTAND
Activity 15: OPEN-ENDED STATEMENTS
This activity aims to assess your mastery of the essential understanding by

completing these unfinished statements.
1. I learned
that________________________________________________________.
2. Folk dance costumes tell about the
______________________________________.
3. Folk dances differ in _______________ because
___________________________.
4. ______________ can be a way to enhance an
individual’s____________________.
5. I feel I am _____________________________________ in performing folk
dances.
6. Folk dances are beneficial to one’s health because
__________________________.
Self- Check:
Draw a checkmark in the appropriate line that corresponds to your answer.
To what extent did you…….
1. learn the dance steps?

___________to a great extent
___________to a moderate extent
___________to a lesser extent
2. execute correctly the dance step combinations?

3. memorize the dance?

4. express your emotions and feelings on the dance?

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____________to lesser extent
Self-check
In your activity notebook, copy the numbered statements and put a

checkmark on the space before each number that best describe your performance.
___1. I enjoyed executing the dance steps.

___2. I danced gracefully.
___3. I followed the instructions given by the teacher.
___4. I cooperated well with the group.
___5. I performed the basic movements correctly.
Reflection
Write your answer to these questions in your activity notebook

1. Have you ever thought of expressing your feelings through the dance you
performed in school? Explain.
2. Do you find dancing an effective way of expressing yourself? Justify.
You’re Great! Being able to reach this far is a

clear indication of your passion to learn. You
are now about to reach the most important
part of the lesson and that is to experience
performing the dance as a whole.
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Part IV- WHAT TO TRANSFER
Activity 16: CULTURAL SHOWCASE
In this phase, you will perform your folk dance to the class and it will be
rated according to these criteria: Choreography and Artistry, execution, and Mastery
of the steps.) Change criteria for Mastery, Performance, Staging.
1. Go to the school for your culminating performance. If you don’t have a gym, set
the classroom in a manner that can provide enough space for your performances.
2. Present your folk dance to the class (costume, props, accessories, and make-up
are highly encouraged).
3. Assign somebody from your group to take charge of documenting your
performance using video camera or any similar equipment or manner you
preference.
4. Your teacher will sequence your performances drawing of lots.
5. Guest observers may be invited to witness the activity, including your parents,
friends or relatives.
6. Provide feedback on the performance of other groups.
Well done! You are now about

to reach the finish line. I know
how tired you must be.
However, there is one more
activity that you need to
accomplish before finishing
the race. This time let’s check
your creativity and artistry by
doing the next activity below.
I know that you can make it! 
Carry on!

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Activity 17- CREATIVE DOCUMENTARY
1. This time come up with a creative documentary from participating in folk

dancing. You may consider doing a portfolio, a narrative or a visual
presentation of the experiences, insights and benefits you gained.
2. Invite one member of your family to the class and have him/her share his/her
experiences as a folk dance performer when he/she was still young and how
folk dancing created impact on family solidarity and wellness in his/her
lifestyle.
Wow! You did it well! Finishing all the

activities with flying colors is a clear
manifestation that you have learned all
the lessons pretty well. After this phase
what do you intend to do to enrich your
gained. Would’nt you like to share what
you learned to your friends, family
members or to your community? The next
activity will allow you to promote folk
dancing as a form of physical activity. It’s
a good journey after all! 

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LESSON VI
LEARNING GOAL- Promote folk dancing as a physical activity for the whole
family.
An activity becomes more meaningful when done and participated in by the

whole family. The support given upon watching and applauding a family member
boosts ones confidence and self esteem. It is also a good form of bonding for the
whole family watching together dance festivals in any various places in the country
or even just in theatres. Somehow, you’ll be learning different culture through folk
dances while spending leisure hours together. Furthermore, these activities promote
lifelong fitness and wellness for they are potent sources of exercise that could
develop grace, poise, and even help in maintaining good health for you and your
family members.
Suggested Activities:
1. Together with your family, you may join in a field demonstration during your
campus’ Foundation Day or in a stage performance/street dancing during
your town fiesta.
2. You and your siblings can also join contests on Philippine folk dances.
3. Your family can go to theaters or museums to watch folk dance festivals and
presentations.
SUMMARY/SYNTHESIS/GENERALIZATION:
Now that you are done reading this learning material, I’m pretty sure that you
are ready to face the challenges folk dancing brings in terms of its origin, historical
background, dance steps and step patterns, dance interpretations and performance.
You discovered that just like any other sports or a game, dancing is also a physical
activity that can promote lifelong fitness and wellness. It is a good source of
exercise that could help develop grace and poise. It can even help in maintaining
good health as it highlights health-related skills such as cardio-vascular endurance,
flexibility and strength. Surely, this module has enriched your mind to explore the
wonders of folk dancing.
In lesson 1, you have learned the significance of the origins and locations of folk
dances by identifying the performers’ costumes and music. Here, you realized that
just by merely looking at the costumes and props and listening to the music would
tell you right away about the point of origin of a particular dance. You also learned
the effects of acculturation brought about by the trade and settlement from our

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neighboring countries like China, Malaysia, Indonesia, Burma, Cambodia, Thailand
and Japan.
Lesson 2 has provided activities that led you to understand rhythmic patterns of
selected regional and national dances with Asian influence particularly Binislakan,
Sakuting, Sua-Ku-Sua, Pangalay and Tiklos. You discovered that rhythm plays an
important role in the performance of the dance. Feeling the beat and rhythm of the
music is a motivating factor for them to perform well.
Also Lesson 3 has provided you activities that inspired you to demonstrate and
master the basic steps of Binislakan, Tiklos, Sakuting, Sua-Ku-Sua and Pangalay. It
enabled you to enhance your dancing skill and motivated you to show and share the
steps you’ve learned. Thus, you realized that mastering the basic dance steps could
be used in the interpretation of the dance literature to a large extent.
Moreover, Lesson 4 has presented you ways and means to discover the
meaning of the gestures and hand movements in the performance of a particular
dance. It enabled you to use your creativity in conveying proper emotions and
gestures in different situations as found in the different settings needed in the given
dances.
Meanwhile, Lesson 5 has provided you with insights that made you master and
understand the dance literature of Binislakan, Sakuting, Sua-Ku-Sua, Pangalay and
Tiklos. Those insights enabled you to perform the dances appropriately and
gracefully. In this part, you found out that the correct interpretation of the dance
depends on the mastery and accuracy of your understanding of the elements of
dance such as dance steps, step patterns and counting.
Finally, Lesson 6 gave you a better perspective on the importance of folk dancing
in relation to your family and community as it gave you opportunities to perform the
given dances with your family members during town fiestas and school foundation
days. It also gave you time to bond with your family members by watching
culminating activities/cultural shows which gave you a chance to develop family
solidarity as well as family wellness.
We hope that through this module, you have become more acquainted with the
significance of folk dances, and somehow you could use the knowledge you learned
from this module not only during dance performances but also in maintaining a well
and fit body and a sustainable life.

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GLOSSARY OF TERMS
Accent - emphasis on a beat, usually but not always, the first beat of
the measure
Acculturation - a process in which members of one cultural group adopt
the beliefs and behaviors of another group
Culture - the totality of socially transmitted behavior patterns, arts,
beliefs, institutions, and all other products of human work
and thought
Dynamics - an interactive system or process, especially one involving
competing or conflicting forces
Folk dance - a form of dance developed by a group of people that
reflects the traditional life of the people of a certain
country or region
Folk dancing – a great exercise and a fun recreational activity for people
of all ages
Implements - a device used in the performance of a task
Improvisation - created extemporaneously, without planning.
Intensity - in music, the loudness and softness of an accompaniment;
in fitness, the degree of vigor or the amount of effort
expended during an activity
Lifelong Fitness – the condition of being fit and healthy throughout life.
Tempo - the rate of speed from fast to slow
Traditions - a mode of thought or behavior followed by a group people
continuously from generation to generation; a custom or
usage
Wellness - a way of life purposely designed to enjoy the highest level
of health and well-being possible, including nutrition,
weight control, avoiding substance abuse, being
physically fit and leading an active life, controlling stress,
developing good relationships with others, living with high
values and ethics, and attending to spirituality
References
BOOKS:
 Hiyas Philippine Folk Dance Company: Barrio Fiesta Suite

 Filipino Songs Atbp.: Philippine Folk Dance History
 Campers Point: Philippine Dance
 Philippine Folk Dances Volume 1 by Francisca Reyes Aquino

230
 MAPEH for a Better You by Jocelyn V. Bautista, Ma. Rosario C.
Franco, Josefino N. Carlos, Danilo S. Duyan, Emilio S. Jacinto, Jr.
Rosanna A Diana, Alvenia P. Palu-ay, Hazel P. Copiaco and Gloria M.
Gacoscosim.
 MAPEH II by Vilma V. Perez, Lilian N. Luna and Crisanto E. Tomas
 A Classical Collection of Philippine Golk Dances, Series 4,
 Ramon Obusan for the Sua-Ku-Sua Dance Literature
 Sayaw Dances of Philippine Islands-Philippine Folk Dance Society Vol.
1,2 and 4.
 2010 New Secondary Education Curriculum Teaching Guide
ON-LINE SOURCES
 The History of Filipino Folk Dance |

How.com http://www.ehow.com/about_6558571_history-filipino-folk-
dance.html#ixzz27RKkEfja November 28, 2012
eHow.com http://www.ehow.com/about_6558571_history-filipino-folk-
dance.html#ixzz27RK6wqx1 November 28, 2012
eHow.com http://www.ehow.com/about_6558571_history-filipino-folk-
dance.html#ixzz27RKzSk8d November 28, 2012
 http://wiki.answers.com/Q/What_is_sua_sua_folk_dance#ixzz27Xedp
W18 November 28, 2012
 http://www.bangkokcompanies.com/Dance/philipinnesdance1.jpg
 .bp.blogspot.com/_LgNn7UyFJLc/SvPQXKIpG4I/AAAAAAAAB3A/djYN
O26rbPk/s400/leyte+dance+Theatre.jpg November 28, 2012
 http://1.bp.blogspot.com/-
tcDLOUN0BlI/TbYivw6NsAI/AAAAAAAAACE/MFbsNavnvNo/s1600/sin
gkil.jpg November 28, 2012
 http://home.allgameshome.com/results.php?s=philippine+folk+dance&c
ategory=images&start=1 November 28, 2012
 http://www.youtube.com/watch?v=8QApCK1lTrU November 28, 2012
 www.kalilayan.com November 28, 2012
 http://images.search.yahoo.com/search/images;_ylt=A0PDoX5F909Qa
h8A0iSJzbkF?p=pangalay%20dance&fr=yfp-t-521-s&ei=utf-
8&n=30&x=wrt&fr2=sg-gac&sado=1 November 28, 2012
 asukacaramel.deviantart.com November 28, 2012
 www.pinoyexchange.com November 28, 2012
 http://www.flickr.com/photos/14280206@N03/ November 28, 2012
 www.fiestafilipina.org November 28, 2012
 www.panoramio.com November 28, 2012
 www.playle.com November 28, 2012
 archives.pia.gov.ph November 28, 2012
 Pangalaydance.com/the-pangalay-dance-style-of-the-philippine-an-
intangible-cultural-heritage November 28, 2012

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Music 10 OHSP Learner’s Material

The learner demonstrates understanding of...

1. The 20th century music styles and characteristic features.

1. Creates musical pieces using a particular style of the 20th century.

1. Listens perceptively to selected 20th century music.

From the Department of Education curriculum for MUSIC Grade 10 (2014)

Music 10 OHSP Learner’s Material

Directions: Encircle the letter of the correct answer.

Quarter I: MUSIC OF THE 20TH CENTURY

Music 10 OHSP Learner’s Material

Music 10 OHSP Learner’s Material

CLAUDE DEBUSSY (1862–1918)

One of the most important and influential of the 20th century

Debussy’s mature creative period was represented by the following works:

Music 10 OHSP Learner’s Material

Music 10 OHSP Learner’s Material

MAURICE RAVEL (1875–1937)

Joseph Maurice Ravel was born in Ciboure,

The compositional style of Ravel is mainly

Ravel’s works include the following:

 Pavane for a Dead Princess (1899), a slow but lyrical requiem

Music 10 OHSP Learner’s Material

 Daphnis et Chloe (1912), a ballet commissioned by master

Music 10 OHSP Learner’s Material

Comparative Styles of Debussy and Ravel

ARNOLD SCHOENBERG (1874–1951)

Arnold Schoenberg was born in a working-class

Although full of melodic and lyrical interest, his music

THREE PIANO PIECES, OP. 11, NO. 1

Music 10 OHSP Learner’s Material

Igor Stravinsky stands alongside fellow-composer Schoenberg,

He was born in Oranienbaum (now

Stravinsky’s musical output approximates 127 works, including

Music 10 OHSP Learner’s Material

Expressionism revealed the composer’s mind, instead of presenting an

Music 10 OHSP Learner’s Material

Activity #1 Experience Impressionism

Activity #2 Express Yourself

- Schoenberg: Verklärte Nacht, Op.4 - Boulez.

Music 10 OHSP Learner’s Material

Music 10 OHSP Learner’s Material

Music 10 OHSP Learner’s Material

EDGARD VARESE (1883–1965)

Edgard (also spelled Edgar) Varèse was born on December

The musical compositions of Varese are characterized by an

Music 10 OHSP Learner’s Material

KARLHEINZ STOCKHAUSEN (1928– )

Karlheinz Stockhausen is a central figure in

Music 10 OHSP Learner’s Material

John Cage was known as one of the 20th century composers

In one instance, Cage created a “prepared” piano, where screws

Music 10 OHSP Learner’s Material

Activity 1 The Who

Composer Musical Work

Music 10 OHSP Learner’s Material

Experimentation with the Chance, Electronic Music and Musique Concrete

2. Electronic Music/Musique Concrete – sing simple song using

Music 10 OHSP Learner’s Material

1. One of the most important and influential composer of the 20 th century

RHEBET S. REMOT NANCY N. REBANCOS

Music 10 OHSP Learner’s Material

The learner demonstrates understanding of...

From the Department of Education curriculum for MUSIC Grade 10 (2014)