Kalikhasan Module - Draft 8.4

KaLIKHAsan!
Likha at Lakas ng Kabataan Para sa Kalikasan:

Creative Sourcebook on the Use of Theater
for Climate Change Education and Action
This sourcebook was collaboratively developed and reviewed

by educators, creative artists, and climate change specialists.
We encourage teachers and other education stakeholders to
email their feedback, comments, and recommendations to the
Department of Education at drrmo+ccam@deped.gov.ph.
We value your feedback and recommendations
Department of Education
Republic of the Philippines
KaLIKHAsan! Likha at Lakas ng Kabataan Para sa Kalikasan
Creative Sourcebook on the Use of Theater for Climate Change Education and Action
First Edition, 2021
This KaLIKHAsan! Likha at Lakas ng Kabataan Para sa Kalikasan: Creative Sourcebook on

the Use of Theater for Climate Change Education and Action documents the process of the 2019
Climate Action Advocacy Show.
It provides the theoretical underpinnings and pedagogical strategies for creating a theater
performance on climate change adaptation and mitigation with young people.
Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the
Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks,
etc.) included in this module are owned by their respective copyright holders. Every effort
has been exerted to locate and seek permission to use these materials from their respective
copyright owners. The publisher and authors do not represent nor claim ownership over
them.
Published by the Department of Education
Disaster Risk Reduction and Management Service

Office Address: 2nd Floor, Rm 201, Mabini Building, Department of Education, DepEd
Complex, Meralco Ave., Pasig City, Philippines
Telefax: +632-8635-3764; +632-8637-4933
E-mail Address: drrmo+ccam@deped.gov.ph
Recommended citation:
Department of Education. 2021. KaLIKHAsan: Likha at Lakas ng Kabataan Para sa Kalikasan.
Manila. https://www.deped.gov.ph/kalikhasan-creative-sourcebook
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Project Team
project supervision and management

Ronilda R. Co
Director IV
Disaster Risk Reduction and Management Service (DRRMS), DepEd
Lara Jean L. Salaysay

Project Development Officer II
Joseph Keith Anicoche

Artistic Director
Sipat Lawin Ensemble
project assistants
Zherluck Shaen A. Rodriguez
Technical Assistant II
Almalyn C. Madrid
Technical Assistant II
writers
Sigmund Roy Pecho
Brian Joseph Bango
Adrienne Vergara
Alison Segarra
Janessa Louise Roque
Jan Kirby Vicente
Claudia Monette Enriquez
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illustrators and graphic designers
Virgilio Balanon II
Tristan Angelo Ramirez
editors
Janessa Louise Roque
Donna Pamella Gonzales
reviewers
Anna Liza Chan
Senior Education Program Specialist
Bureau of Curriculum Development (BCD), DepEd
Joseph Gutierrez
Bureau of Curriculum Development (BCD), DepEd
Lorna V. Ramos
Bureau of Learning Delivery (BLD), DepEd
Eva Mari D.G. Salvador

Department Manager
Arts Education, Cultural Center of the Philippines (CCP)
Micah De Leon
Development Management Officer II
Climate Change Service, Department of Environment and Natural Resources (DENR)
Dr. Leoncio Amadore

Member
National Panel of Technical Experts, Climate Change Commission
Dr. Rodel Lasco

Member
National Panel of Technical Experts, Climate Change Commission
3
Acknowledgment
The development of the KaLIKHAsan! Likha at Lakas ng Kabataan para sa Kalikasan: A Creative
Sourcebook on the Use of Theater for Climate Education and Action had been made possible under the
direction and leadership provided by the Disaster Risk Reduction and Management Service (DRRMS)
in partnership with Komunidad X/Sipat Lawin.
The recognition and support of the Executive Committee, under the leadership of Secretary Leonor
Magtolis Briones, on strenghthening climate change adaptation and mitigation in the basic education
sector is greatly appreciated.
We would also like to extend our deepest gratitude to the extensive reviewers of the Creative
Sourcebook. From our external partners consisting of the Cultural Center of the Philippines headed by
President Arsenio J. Lizaso, the Department of Environment and Natural Resources (DENR) headed
by Sec Roy A. Cimatu through the Climate Change Service led by Director Elenida D.R. Basug, Climate
Change Commission (CCC) headed by Secretary Emmanuel M. De Guzman specially the Office of
Commissioner Rachel Herrera and Policy Research and Developmment Division and National Panel of
Technical Experts led by Mr. Jerome Ilagan and assisted by CCC staff, Mr. Tyrone B. Pantua, Mr. Kenly
Monteagudo, Ms. Bek Evangelista, and Ms. Lyka Ranelle Dela Cruz, and the Office of Deputy Speaker
Legarda with her staff Ms. Kristine Sheree Mangunay and Ms. Toni Rose Billones. From the internal
DepEd offices including the Bureau of Curriculum Development (BCD) under the leadership of Director
Jocelyn D.R. Andaya and Ms. Isabel A. Victorino and the Bureau of Learning Delivery (BLD) headed by
Director Leila P. Areola and Ms. Rozalina J. Villaneza.
We would like to thank the DepEd Learning Portal team from the Bureau of Learning Resources (BLR)
under Atty. Ariz Delzon Acay D. Cawilan, Ms. Besy C. Agamata, Ms. Daisy Asuncion O. Santos and their
staff Mr. Joselito Asi, Mr. Jejomar Alda, Mr. Andrew A. Villarba, and Mr. Eric Labrea and the Information
and Communications Technology Service (ICTS) headed by Director Abram Y.C. Abanil and his staff Mr.
Mark Anthony C. Sy and Mr. Mark Anthony F. Papa.
Appreciation is extended to the DRRMS staff who assisted in the development of the Creative
Sourcebook and the conduct of the 2019 Climate Action Advocacy Show specially Paolo R. Aquino,
Orlando B. Barachina, Jessica Caranay, Hanna Patricia Cortes, Joshua Raneses, Jerika Dane Velasco,
and Eleiza Recaro.
Lastly, we would like to thank the different stakeholders who were involved in the 2019 Climate Action
Advocacy Show; without them the Creative Sourcebook would not have materialized:
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The management team of the DepEd National Capital Region: Regional Director Malcolm S. Garma,
Assistant Regional Director Carlito D. Rocafort, Chief Education Program Specialist Genia V. Santos,
and Schools Division Superintendent Mauro C. De Gulan, Alejandro G. Ibañez, and Ma. Evalou
Concepcion A. Agustin of the Divisions of Malabon City, Navotas City, and Pasig City at the time of the
show;
The Regional DRRM Coordinator of NCR, Mr. Perlito G. Manalad, and the Division DRRM Coordinators
of Malabon City, Navotas City, and Pasig City, Ms. Yolanda G. Isidro, Mr. Jayson C. Castro, and Ms.
Maribel L. Liddan.
The school heads and personnel of the participating schools: Dr. Ma. Victoria D. De Gulan, Ms. Jecylin
Santos, and Mr. Anthony Cruz of Malabon National High School, Dr. Cristina M. Miclat, Ms. Aileen
Sampang, Mr. Laurence Salamanca, and Mr. Dennis Papa of Kaunlaran High School, and Mr. Gilbert
O. Inocencio, Ms. Marivic D. Lising, Mr. Roi Watanabe, and Mr. Wenalyn Luz of Rizal High School;
The talented and creative student performers: Antonette Ortega, Giemmela Martin, John Danniel
Fulgencio, Merrielle Cruz, Ysabielle C. Arrogante, Kurt Mahaguay, Kath Valiente, Ana Lucero, Marga
Oscariz, Chek Chek Zulueta, Brian Escropolo, Nicole San Antonio, Hannah Padua, Ruth Esguerra,
Vinet Alforque, Gaby Bermudez, Angela Diaz, Tashmine Pedida, Devy Ann Belonio, Geraldine Besenio,
Christian Cortes, Knitzhel Villauruel, Mark Pelino, Bernard Apolinar, and Jophet Dela Cruz from the
“Future Living Museum” Team; Faith Alvaro, Paul Resty Arcega, Elaine Gerladizo, Princess Gaddi,
July Rosales, Lei Axl, Renz Ocampo, Vergel Manalo, Danielle Villarin Padilla, Althea Roger, Macario,
Coleen Jacinto, Amor Escuyos, Catherine Abanag, Claire Borja, Diessa Apostol, Honey Grace Ongco,
Iyah Guro, Justine Torres, Lara Batica, Roevic Mae, Princess Tiamsim, Raphaella Bermudez, Raquel
Ovilla, and Rezel Olmillo from the “Climate Changers” Team; Maria Dela Cruz, Marimel Evangelista,
Jiereco Basilio, Noliboy Aris Escuriaga, Marxson Brent Toscano, Fidelity Cassey Canares, Lee Andrei
Avellanida, Alyssa Solis, Crisela Jana Garrero, Vijetien Alforque, Charisse Zulueta, Margaret Mamba,
Ayeisha Mira Esguerra, Audrina Lim, Charmaine Borja, Jham Vincent Mia, Greg Aaron Romano, Lorenz
Sisbreno, Alexa Soriano, Gil Tibay Jr., Kathleen Varilla, Leah Ruth Geronimo, Michaella Joy Andaya,
and Erwin Malabag from the “Dear Philippines” Team.
The remarkable and supportive production team: Direction by Komunidad X: Jk Anicoche, Adrienne
Vergara, and Sig Pecho; Stage Management by Kirby Vicente; Lights Design by Roman Cruz; Music
by J Laspuña; Choreography by Jared Jonathan Luna for the “Future Living Museum” Team; Direction
by Abner Delina Jr., Assistant Direction and Production Management by Precious Grace Reonisto,
Assistant Direction and Sound Design by Joshua Martin Tayco, Stage Management by Alpauline Grace
Peña, Production Design by Mark Mirando, and Assistant Production Management by Hershee Tantiado
for the “Climate Changers” Team; Direction by Karl Alexis C. Jingco, Choreography by Kul Dela Torre,
Production Management and Stage Management by Eric Sindol for the “Dear Philippines” Team; Project
Headed by Eva Mari Salvador, Production Coordination by Eyna Villar and Ching Danseco, Project
Assisted by Don Baniqued, Overall Lights Design by Roman Cruz, Overall Sound Engineering by TJ
Ramos and Overall Video Design by Joyce Garcia
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Message
Education plays a vital role in raising awareness of climate change among the Filipino
youth. There is no doubt that today’s children will inherit a world with complex environmental
challenges. Our young people today are not passive in dealing with this global crisis. It is the
duty of the education sector to provide opportunities and to empower them as they take bolder
steps for the environment. In 2019, the Department of Education, through the Disaster Risk
Reduction and Management Service, has launched the first Climate Action Advocacy Show
to provide learners a platform to understand the current climate situation, and for them to
express their views based on their first-hand experiences.
The successful advocacy show was made possible in collaboration with the Cultural Center of
the Philippines’ Sining Galing. Unfortunately, the COVID-19 pandemic of 2020 has hindered
us from recreating the events from the 3rd National Climate Change Conference. Instead of
staging another set of performances, DepEd DRRMS opted to show the recorded performances
of the students from Kaunlaran High School of the Division of Navotas City, Malabon National
High School of the Division of Malabon City, and Rizal High School of the Division of Pasig City
for the 4th National Climate Change Conference. Despite the event being held online for 2020,
the amount of support from our learners and personnel remained significant, making it clear
that even under the New Normal, the enthusiasm and passion of our learners are unwavered.
Using the arts as an expression and tool for learning can enable our young people to address
climate change and be involved in the discourse in a way scientific and sometimes intimidating
information alone are unable to achieve. Through this creative sourcebook, we hope to give a
chance and opportunity for our learners to use theater as a creative outlet and tool in narrating
their views on climate change. Through KaLIKHAsan, we hope to see our learners create their
own artistic interpretations of their visions for their community and the country.
It is important that we place our confidence and trust in the abilities of our learners. By doing
so, we can empower and motivate them as they join us in forging a stronger future for the
world we live in.
Handang Isip! Handa Bukas!
Leonor Magtolis – Briones

Secretary of Education
6
Message
The Department of Education (DepEd), through the Disaster Risk Reduction and Management
Service (DRRMS), has been active in providing platforms and opportunities for our learners to
learn about, raise awareness, and join the discourse on climate change. This is in line with the
commitment of DepEd to increase climate awareness and elevate discussions on this global
crisis which needs an urgent response, acknowledging the role that education plays.
Most of society’s problems today require an inclusive effort where all of us can meaningfully
contribute. The need to include the youth in our fight against the global climate crisis has
become increasingly important because our young people, whose futures are being threatened,
deserve a just, equitable, and climate-resilient society. Climate change, when delved into, can
be an intimidating topic. Encouraging our youth to join the discourse can be challenging if we
do not provide them multifaceted avenues where they can address the problems in their own
ways.
The KaLIKHAsan: Likha at Lakas ng Kabataan para sa Kalikasan is not your typical learning
material on climate change. This creative sourcebook taps the art of theater to facilitate
a collaborative performance-making process with its participants. We hope that by this
sourcebook, our learners can also create performances similar to the ones featured during
the Climate Action Advocacy Show in 2019. We encourage the creative minds of our youth to
interpret their views on the world and how they want to prevent the further destruction of the
planet. By providing them with this guidebook, we are giving them a chance to use a framework
that can acknowledge local contexts and embody the DepEd Core Value MAKAKALIKASAN.
Our Filipino youth are critical, creative, and eager. They are agents of change. Highlighting
and recognizing their ideas are some ways we can elevate their voices and help their visions
come to life. It is our responsibility to pave the way for their empowerment and provide them
with opportunities to make a difference. Climate change is an issue of the youth so we must
allow them to become part of the solution. By understanding this, we can provide them with
better support while we, as a whole nation, turn our promises into action.
Thank you!
Alain Del B. Pascua

Undersecretary for Administration
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Message
Climate science tells us that some amount of warming is already “locked in.” While climate change is
global, Asia stands out as being more exposed to physical climate risk than other parts of the world.
The November 2020 report on Climate Risk and Response in Asia revealed that in 2050, Philippines
is one of the eight major Southeast Asian countries projected to see extreme increase in heat and
humidity, and growing exposure to extreme precipitation events. The series of disasters due to natural
hazards that we experienced in 2020 while we were battling the pandemic highlight the importance of
a more unified intervention framework that links climate change adaptation and disaster preparedness.
Indeed, implementation of adaptation measures will surely be critical in the face of climate change.
However, adaptation alone will not be enough. Lessons learned from the COVID-19 pandemic tell us
that mitigation is essential to prevent global threats and increasing climate risk. The more the world
implements effective mitigation measures, the less adaptation may be necessary.
Recognized as part of the global response to mitigate climate change, strengthening the integration of
climate change adaptation and mitigation in the curriculum is a critical step towards greater awareness
about the increasing climate risk and in shaping the values, attitudes, and behaviors needed to put
the world on a more sustainable path. The Department of Education is committed, taking seriously its
responsibility as educators to help inform the next generations and to better equip them to respond to
the climate-related challenges ahead. Undeniably, our action must start with the children, give them
courage, help them look at problems critically, and to continually remind them that there is hope and
their confidence and initiative will carry them to overcome this.
With this, the Curriculum and Instruction strand would like to express its gratitude to a number of
individuals who generously contributed their time, insights, and expertise in developing the learning
resources for climate change education. I hope that the efforts made by the DepEd Disaster Risk
Reduction and Management Service (DRRMS), in collaboration and partnership with Komunidad X,
Cultural Center of the Philippines, and various internal and external stakeholders who helped in the
review and quality assurance of these Knowledge Materials will be well appreciated by the field units. I
am confident that through KaLIKHAsan, the teachers and the learners will be supported in developing
their understanding of the science of climate change, observed and anticipated impacts,
diverse responses, and in identifying potential opportunities so that they can better assess, adapt to,
and mitigate the physical risks of climate change, leading to peaceful living together and equitable life
on earth for everyone now and in the future.
May God continuously lead and bless all our endeavors. Mabuhay!
Diosdado M. San Antonio

Undersecretary for Curriculum and Instruction
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Message
Climate change is one of the most important issues of our lifetime. Its effects will affect everyone
but most especially those who are already vulnerable like the youth. As the Department of
Education, we hope to equip learners with the skills to adapt and mitigate climate change.
Why use creative arts as the medium to raise awareness on climate change? We could have
done the usual information, education, communication materials like a poster. However, the
world is in confusion. There is too much noise everywhere. We need to get in touch with what
matters in life, with our humanity. What better medium could connect us to that humanity than
the arts, and who could connect us better but our children who are most likely to experience
the adverse impacts of climate change in the 21st century. With this, the 2019 Climate Action
Advocacy Show was born. It was well received by the audience, composed of families of
the learners, climate change specialists, teachers, and education leaders. Also, we saw an
improvement in the performers’ skills in performing arts and their knowledge on climate change.
Through the KaLIKHAsan Creative Sourcebook, we hope to promote this improvement in

climate change awareness through the teachers enabling their students to stage their own
Climate Action Advocacy Show. As different learners have varied experiences on the local
impacts of climate change, we look forward to the unique performances that will be staged.
We invite our teachers to use the KaLIKHAsan Creative Sourcebook in empowering our
learners toward climate education and action. The future of their generation and generations
after them are at stake. We should listen to the voices and visions of young people in the
climate crisis.
By elevating our learners’ concerns through empowering them to articulate their voices and
visions of the future they want, through sharing their talents and skills, we move forward
towards a sustainable society, one that mitigates and adapts to climate change.
Ronilda R. Co
Director IV, Disaster Risk Reduction & Management Service
9
Message
Congratulations to the Department of Education (DepEd) for this very timely project. The
Cultural Center of the Philippines (CCP) through its Arts Education Department’s SINING
GALING program, has been a partner of DepEd through its Disaster Risk Reduction and
Management Service (DRRMS) office. Both share the belief, that the arts are valuable in
the rehabilitation of communities of learners and teachers affected by disasters and armed
conflict.
When CCP became a partner of UNICEF in its Children Needing Special Protection program,
the arts became a part of the emergency response for communities of teachers and learners
in their return to normalcy. CCP continues to implement programs in the arts for healing,
wellness, and transformation.
In 2019, the arts became the response in presenting concerns about climate change.
In this collaboration between DepEd and CCP, the youth were engaged to express themselves
through a theater production, as content creators, producers, and performers, on the CCP
stage. It was the voice of the youth, making a stand about the environment and their future.
This project is about hearing more of these voices from the youth. And we congratulate the
Department of Education – DRRMS team for making the youth and arts, matter.
Eva Mari G. Salvador

Department Manager
Arts Education, Cultural Center of the Philippines
10
Message
Hello, teacher/ facilitator/ kasangga!
Mabuhay!
We, in Komunidad X, are filled with enthusiasm to share with you this module that has been a
testament of care – created and co-designed with a team of artists and students equipped to
champion our kapaligiran. As our time for creation is deeply rooted in our responsibility to our
kapwa, may this module help you and your students create theatrical performances with much
appreciation of our culture and understanding of our climate realities.
We are thankful to DepEd DRRMS for this brave act to gather and support student-artists and
our own artist-collective; to train and learn together how to create climate-conscious works,
not only in messaging but in its entire process. With this, we are fortunate to have witnessed
and discovered that creative processes can go hand-in-hand with our advocacy for the land.
In this light, we wish to pass on this process through this documented toolkit for every teacher
who wishes to join this community of climate advocates.
Here is our sharing to everyone – a module that has embarked on culturally-responsive

methodologies to champion our advocacy in climate action, education, and values, through
performance. This module has been carefully designed to help you apply the tools of theater-
making along with the indigenous wisdom of our Filipino culture anchored to caring for the
kapwa. May you discover the wisdom of caring and pass it on to those who will continue to
care for our future – the youth.
Mabuhay!
Komunidad X
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Contents
The Background 17
Climate Action Advocacy Show
The Framework 23
Understanding the KaLIKHAsan! Module
Feeling, Thinking, Doing as guiding framework 24
How to Design your Workshop 25
The Role 27
The Creative Facilitator
Instruments of the Creative Facilitator 28
Warm-up for Facilitators and Participants 29
Best Practices 35
The Toolkit 40
Paglikha: Creation Phase 43
Palabas: Presentation Phase 86
Pagpapalalim: Processing Phase 104
*Session Guides, Resources, and Activities
Testimonials 111
Annex 117
Appendix 139
Glossary 158
Index 162
Bibliography 163
12 interactive
texts in brown are clickable
How to use this
sourcebook
This sourcebook is for teachers, theater and performance practitioners, and workshop
facilitators. It explains how to design and facilitate a collaborative performance creation process
with the youth that incorporates climate action and the environment as central themes.
There are five main sections:
the background
1 Climate Action Advocacy Show

Explains the context of addressing climate action and environmental
issues through Philippine art and culture.
the framework
2 Understanding the KaLIKHAsan! Module

Introduces Feeling, Thinking, and Doing as the guiding framework of
this module—integrating the cognitive dimension (knowledge of the
environment) and reflective dimension (reflections on Filipino culture)
through the physical aspect of making a theater performance.
Explains how you can design and schedule your own workshop
sessions using the activities & references in this module by keeping in
mind the three phases of performance creation: creation, presentation,
and processing.
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the role
3 Creative Facilitator
Provides guidelines, tips, and exercises to prepare yourself for your
role.
the toolkit
4 Feeling, Thinking, Doing

Suggests Feeling, Thinking, and Doing activities and resources to
design your own workshop sessions and schedule your own project
timeline
conclusion
5 Wraps up the whole sourcebook, with messages from student-

participants of the Climate Action Advocacy Show.
At the end of this sourcebook are additional resources for the

facilitator such as sample project timelines and sample workshop
schedules.
14
Understanding
the icons
This guide is marked with a set of icons that
will help you find what you are looking for
thinking
The thinking or cognitive dimension
is focused on the knowledge of the
environment.
doing
The doing or tactile/physical dimension is
directed towards theatre-making skills.
feeling
The feeling or affective
dimension is centered on seeds for
Filipino culture.
reflection
Questions to help
participants make
digging sense of their
deeper experience
Further information and

resources to deepen
understanding
tips
Facilitation advice gathered
from the experience of previous
facilitators
powerup
Add-ons that can energize
your sessions
reminders
Key points to keep in mind
interactive
texts in brown are clickable
15
Contents
the
Background
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Climate change is here, now.
In 2007, the Intergovernmental Panel of Climate Change (IPCC) confirms that the changing
climate observed through the increased heating of the Earth’s temperature or global warming
is primarily a result of human activities. Increased industrialization produced too much carbon
dioxide and other greenhouse gases (GHGs) in the atmosphere that it altered our climate
system. Carbon dioxide comes from the burning of fossil fuels (e.g., gasoline, diesel, coal)
used to power the world’s factories, transport, and manufacturing industries, among others.
These GHGs absorb the heat coming from the earth’s surface and return it back to earth.
The more GHGs and carbon dioxide there are, the faster is the warming rate. Further, the
exploitation of our resources, specifically the forests and ocean, contribute to climate change
as it serves as carbon sinks.1
Together with the unprecedented global warming are impacts like higher sea level rise,
increased ocean acidification, intense drought, and more public health emergencies. The
predictions for a drastic increase in temperature are set for 2100 and yet we are already
experiencing the impacts of climate change. Acknowledging these risks, more than 740 local
governments around the world declared a climate emergency.2 In addition, the 1994 to 2013
Global Climate Risk Index by Germanwatch ranked the Philippines as the fifth country most
vulnerable to climate change.3 In fact, in the 2020 Global Climate Risk Index, the Philippines
is ranked 2nd.4
Pope Francis, in his encyclical “Laudato Si,” stresses that “climate change is a global problem
with grave implications: environmental, social, economic, political and on the distribution of
goods” and laments that the poor (who are least responsible for causing the problem) are
disproportionately vulnerable to its harmful effects.5 Included in the most vulnerable are the
children. The United International Children’s Fund (UNICEF) reported that “climate change
exacerbates the many threats to children’s well-being, survival and access to services in the
Philippines, including education, water and sanitation, nutrition and health.”6
All over the globe, children are taking action.

In 2011, the Children’s Charter for Disaster Risk Reduction (DRR) was developed through
consultations with more than 600 children in 21 countries in Africa, Asia and Latin America.
Children articulated the impacts of climate change and disasters and called on governments’,
donors’, and other stakeholders’ commitment on five priority actions they have identified.
Today, children are going to the streets, mobilizing peers, engaging and compelling leaders to
listen and act with urgency. These children have called global attention that we have reached
17
a “climate crisis,” a “climate emergency.” These children are defining the future they want as
they feel left out and the continuing paradigm of growth and development persists to disregard
the future of our planet, and of the environment on which human survival depends on.
Climate change is shaping Filipino culture as well.

The local impacts of climate change outlined by the Climate Change Commission include
extreme weather patterns such as major changes in the distribution of rainfall and intensifying
drought. The many islands of the Philippines and the coastal communities that rely on the
sea are also facing the threat of rising sea levels. Existing inequalities in our society are
compounding as we face the changes in our planet.7
These changes affect Filipino society not just on an economic level, but on a cultural level as
well. When the very place that we live in is changing—the amount of sunlight and rain that
passes through our lands, the quality of the air we breathe, the animals that surround us, the
plants, trees, fruits and crops that survive in our soil—then our way of life changes too.
“
These changes affect Filipino society not
just on an economic level, but on a cultural
level as well.
The United Nations Educational, Scientific and Cultural Organization (UNESCO) defines
culture as the set of distinctive spiritual, material, intellectual and emotional features that
characterize a society or social group. Culture operates on a three-layered structure: a world
view or perception of life that gives rise to values and attitudes, which lead to the cultivation of
skills, symbols, expressions, norms, and standards.8
For instance, we can look at the culture of indigenous people in the Philippines to see how
their perception of life has shaped their values and attitudes; and how these, in turn, determine
the skills and practices in their communities.
The Badjaos, also known as the sea gypsies of southern Mindanao, are adept at swimming
and foraging for food in the seas. They developed these skills because they typically live on
boats by the sea or in houses on stilts built on the waters. Their shelter, livelihood, and culture is
threatened by rising sea level. Meanwhile, the Ifugaos in the Cordillera Administrative Region,
who rely on agriculture, are already making adjustments to crop patterns and production
cycles to cope with the effects of climate change to their environment.9
18
Our own culture is a rich resource of ecological wisdom.
By looking into Filipino culture, including the innate ways of how we look and interpret the
world around us, we may be able to find values, principles, and strategies that can guide us
as we face the challenges of adapting to climate change and reducing the further destruction
of the planet.
If we look into our history, prior to colonization, the people who inhabited the islands that would
become the Philippines had strong belief systems that leaned towards animism, treating nature
and the environment in high regard. Even until now, Filipinos believe in a supreme being or
Bathala and other natural spirits tasked with maintaining order in nature.10 By tapping into this
resource of cultural knowledge and our interpersonal and spiritual connection towards the
environment, we can renew our relationship with our planet and be encouraged to take action.
The pursuit of our traditional culture’s ecological wisdom is at the heart of the intersection
between climate and culture and must never be ignored.11
The body of knowledge brought about by our traditions and beliefs is derived from our
perception of life that cultivates values and attitudes, which further reinforces our skills, norms,
and social standards, all of which are necessary for a better quality of life and survival amidst
the changing climate.
Thus, to engage Filipino learners in the global conversation towards climate

action, we need to use frameworks that acknowledge their own local contexts.
In celebration of the 2019 Global Warming and Climate Change Consciousness Week, the
DepEd Disaster Risk Reduction and Management Service organized the first Climate Action
Advocacy Show with the DepEd National Capital Region and the Cultural Center of the
Philippines on 19 November 2019 at Cultural Center of the Philippines (CCP) in Pasay City.
19
Addressing this need for a localized and creative module on climate change and the environment,
the Department of Education and the Cultural Center of the Philippines collaborated to create
the first Climate Action Advocacy Show.
The Climate Action Advocacy Show is anchored on Disaster Risk Reduction and Resilience
Education, the third pillar in the Department of Education’s Comprehensive DRRM in Basic
Education Framework (DepEd Order No. 37, s. 2015). It contributes to the goal of the
Department in producing ‘holistically developed Filipinos with 21st century skills ready for
post-secondary career options in their local national and global communities’.
The show featured different perspectives on climate change based on theater arts performance,
ideation, and devising workshops facilitated by the Cultural Center of the Philippines’ Sining
Galing.
The show was staged by the learners from Kaunlaran High School, Malabon National High
School, and Rizal High School who recognized their roles in responding to the climate crisis
which was evident in the themes and language of the three-act play which they themselves
developed with the guidance of the CCP facilitators.
With the outstanding reception from the audience and the positive impact on the learners,
the DepEd DRRMS recognized the need to replicate the project in other schools all over the
country. This paved the way to the creation of the KaLIKHAsan! Likha at Lakas ng Kabataan
para sa Kalikasan: A Creative Sourcebook on Using Theater for Climate Education and Action.
The Creative sourcebook documented the process used in staging the first Climate Action
Advocacy Show.
20
Through this Creative Sourcebook, the DepEd DRRMS hopes that teachers and education
leaders are empowered and encouraged to elevate the voices and visions of young people in
their communities. It provides a platform for both the performer and the audience to understand
the current climate situation, simplifying complex social and scientific messages and localize
climate change impacts based on the performers’ first-hand experiences.
Notes
1. “Carbon sinks”, in United Nations Framework Convention on Climate
Change Glossary, accessed August 6, 2021, https://unfccc.int/resource/cd_roms/
na1/ghg_inventories/english/8_glossary/Glossary.htm.
2. ABS-CBN News, Philippines urged to declare climate emergency,

2019. https://news.abs-cbn.com/news/07/11/19/philippines-urged-to-declare-
climate-emergency
3. Institute for Economics & Peace, Global Peace Index 2019: Measuring
Peace in a Complex World, Sydney, 2019. http://visionofhumanity.org/reports
4. D. Eckstein, and V. Kunzel, L. Schafer and M. Winges. Global Climate

Risk Index 2020. GermanWatch. https://www.germanwatch.org/sites/default/
files/20-2-01e%20Global%20Climate%20Risk%20Index%202020_16.pdf
5. P. Francis, and S. McDonagh, On Care for Our Common Home,

Laudato Si: The Encyclical of Pope Francis on the Environment with Commentary
by Sean McDonagh, New York: Orbis Books, 2016.
6. C. Klauth, and J. B. Ortega, Climate Landscape Analysis for Children in

the Philippines, UNICEF Philippines, 2017.
7. Climate Change Commission, Climate Change and the Philippines:

Executive Brief. 4-5.
8. F. M. De Leon, Celebrating the Creative Living Presence: A Culture of

Healing, The Asian Social Institute, 2017, 14.
9. E. N. Licnachan, Indigenous Peoples of Ifugao: Responding to Climate

Change. IOP Conference Series: Earth and Environmental Science 2009, 6, 2.
10. De Leon, A Culture of Healing, 40.
11. De Leon, 43.
21
Contents
the
Framework
Understanding the KaLIKHAsan! Module
feeling, thinking, doing

as guiding framework
how to design your

workshop
22
The “KaLIKHAsan”
module follows the three
dimensions of Feeling,
Thinking, and Doing as a
guiding framework.
We regard these three dimensions as important characteristics in

instilling core values about life that may be developed into creative
life skills. For each dimension, a central topic is highlighted. All
workshop sessions go through these three dimensions.
The FEELING or affective dimension is centered on

Filipino culture.
It responds to the question, “What Filipino cultural value/s do we
appreciate?” As Filipinos, our way of life will provide a more relatable
grounding that teachers and facilitators can impart to students. It
broadens the idea of culture and emphasizes its essential role in life
and being a Filipino. It tackles the culture that is innately grounded
in our context as Filipinos. This may help put into perspective the
Filipino character, values, and belief systems that may inspire
students to address environmental conservation and protection and
propel climate action driven by their Filipino cultural strengths.
23
The THINKING or cognitive dimension is focused on
the knowledge of the environment.
Specifically, it answers the question, “What knowledge about the
environment do we need to share?” These are brief yet substantial
inputs that may help frame the teachers’ and facilitators’ activities in
this sourcebook. The inputs may be used to provide a foundation for
issues on the environment and climate. In integrating climate change
in the workshop, the basic concepts we need to impart include the
causes and impacts of climate change. Most importantly, we need
to empower the learners in adaptation and mitigation strategies they
can do and lead for climate action.
The DOING or tactile/physical dimension is directed

towards theater-making skills.
Answering the question, “What theater-making skill/s do we develop?”
This is the actualization of the knowing or cognitive dimension and
the feeling or affective dimension. Theater-making physicalizes
concepts, ideas, values, and feelings that relate to the environment
and climate. This dimension facilitates the creative expression of the
students in forming strong messages that extend towards advocacy.
How to Design Your Workshop
Use any of these three dimensions as your starting point for each workshop session.
As an educator or a facilitator, you have room to experiment with the resources, session
guides, and activities that are included in this module. Depending on the topic that you want
to highlight, or the skills that you want to develop in a specific session, you may put any of
the three dimensions as the start, middle, or closing part of the day.
24
Here are some practical principles to
consider when designing your session:
Best to start with the Doing: Physical Dimension when physical and group activities like
movement, games, and hands-on projects will enable the participants to gain new experiences
that are crucial discussion points to the Affective and Cognitive dimensions you intend to
discuss in your session.
Best to start with the Thinking: Cognitive Dimension when important facts and information
at the beginning will ensure that the activities in the Physical dimension and the discussions in
the Affective dimensions are well-informed and anchored on scientific truth and data.
Best to start with the Feeling: Affective Dimension when key ideas on culture & society
and a reflective discussion will bring depth to the Cognitive and Physical dimensions you
intend to focus on in your session.
Tips
need inspiration or more information?
Check out SAMPLE WORKSHOP DESIGN &

the
SCHEDULE in the Appendix to see how you can run the
KaLIKHAsan! module.
The sample also includes possible workshop schedules if you’re

facilitating a workshop for a few days or for several weeks.
25
Contents
the
Role
The Creative Facilitator
Instruments of the
creative facilitator
warm-up for facilitators

and participants
best practices
26
You play a very special role as the
Creative Facilitator—
You will bring KaLIKHAsan to life!
You are not just a director or a teacher. You are holding space for everyone in the
room and you are ensuring everyone can be safe, everyone can share, and everyone
can trust one another in the sessions to follow. As a Creative Facilitator, you are
asked to be the host of this creative gathering.
Instruments of the Creative Facilitator

Tools for effective communication
Body
The body is an abode of boundless expressions. Make sure you warm
up the body and maintain a confident standing position by opening legs
shoulder-width, distributing weight on both feet, and with an imaginary
string pulling your head up. When tense, do breathing exercises to calm
the body down. An open and confident stance sends out infectious
energy and a clear message to your learners that you are ready and
energized for the day’s session.
Voice
One of our primary tools to communicate thoughts is our voice, which
we should warm up before every session. Use the following voice
elements to your advantage:
• Volume: Loud and soft
• Pitch: High and low
• Stress: Emphasis on a word or thought
• Diction: Enunciation of vowels, consonants, and syllables for clarity
27
Tips
using your voice during facilitation
Always aim for clarity. Hit your consonants. Slow down.
Project your voice towards your participants.
Voice is energy. Keep a relatively loud and cheerful voice.
Alter the volume and even pitch of your voice as needed in the
activities.
Use your voice to encourage others to speak. The job of the
facilitator is not just to lead activities but also to facilitate the
other voices in the room. Use the voice to uplift and amplify the
voices of others.
Warm-up for facilitators and

participants
Before the workshop proper, use some of these vocal exercises to prepare your voice
for the sessions. During the workshop, facilitate these vocal exercises to warm-up
the participants’ voices.
28
Neutral Position and Breathing
Always start the sessions with proper breathing exercises. First, ensure that the participants
know how to stand properly in a neutral position.
To achieve the neutral position, have the participants find

their balance when they are standing. Shoulders should
be broadened with an open chest. Have them stretch
their arms sideways with palms facing downwards.
Then, ask them to move the palms and the whole length
of the arms as if scooping ice cream. From here, they
can rest their arms downwards and allow their shoulders
to maintain a broader framing. Their feet should be
(vertically) parallel to their shoulders.
Tips
work with imagery to help students imagine the

changes in their stance to the neutral position.
The feet should be rooted. Roots grow from the feet and plant
itself to the ground.
The back of the head should be growing. Leaves constantly
move in search of sunlight as it continues growing upward.
The opposing pulls from the rootedness and the continuous
growth will make participants feel taller.
Through this, the body becomes a better receptor of air that is
essential for generating and sustaining a vocal power.
29
Breathing creates an important link between the tools for voice and the body.
Exercises for breathing train the body to store air and release it effectively together with the
vocal sounds we produce. Inhale through the nose for four (4) counts, hold the breath for six
(6) counts, then finally exhale through the mouth for ten (10) counts by producing a long “s”
sound. Repeat this at least three times.
Facial Muscles
Facial muscles are as important as any muscle we have especially in allowing ourselves to
speak clearly. Ask participants to massage their cheeks, their lips, and the muscles in the
jaw to relax the facial muscles. Their fingers may exert as much pressure as they want on
their facial muscles. Ask them to open their mouth with their tongue out, as wide as they
could, then close it as if curving the lips inward. Relaxing the facial muscles help release
vocal sounds better.
Vowels
Produce the vowel sounds in staccato and legato.
Staccato means performing each note sharply detached or separated from the others.
Imagine pronouncing the letter “A” like how you say the “A” in the word “apple.” Packed with
a forceful sound, say “A” and deliberately put a strong stop to the vowel sound. This can be
repeated eight (8) times. Do this for each vowel sound.
Legato on the other hand is producing a long note without any intervening other notes or
rests from the start to the end of the sound of the note produced. This is similar to the longest
Happy Birthday greeting in children’s parties, where each participant breathes as much air
for support, and says “happy birthday to you,” prolonging the sound of the “u” as long as they
could. The same principle applies to legato. In this exercise, you will use all vowel sounds.
Make one round per vowel letter. For example, for the vowel “A” we can stretch the “A”
sound in the word “apple.” The sound may be heard like a long yawn “Aaaaaaaaaah”. For
additional fun, ask the students what situations come to mind when creating vowel sounds
in legato. As the last round, have the students create a long legato sound that can produce
all vowel sounds. The sound of this should be like this: “Aaaheeeyiiiiiyooowuuu -- .” Have
them prolong the “wu” sound as long as they can.
30
Consonants
Ch-B-F-P-V-D-Ts
Next, participants will focus on hitting consonant sounds. Ask them to do another round of
staccato exercises with each of these sounds: Ch-B-F-P-V-D-Ts. One round may focus on
hitting the consonant sound Ch. Have the participants do the “ch” for eight (8) times before
hitting the “B” sound. It should sound like this: “Ch, ch, ch, ch, ch, ch, ch, ch.” You may guide
the students’ speed Be sure they pronounce the consonants properly. (“Ch” should sound
like the “Ch” in church.)
Ha He Hi Ho Hu
This exercise has a combination of sound and breath. Produce the sounds of Ha, He, Hi,
Ho, Hu in staccato. Focus on each sound first. One round should be like this: Ha, ha, ha, ha,
ha, ha, ha, ha. Accompany each vocal sound (starting with a round of Ha sound first) with
a clap. For each sound (ha, he, hi, ho, hu), start slow, then speed it up until it sounds like
a laughter. For example: Ha (clap) | Ha (clap) | Ha (clap), and so on. Repeat this for each
particular sound.
Volume
Set the volume level for the loudest vocal sound, medium-loud, soft, and whisper. Help
students visualize it through your hand gestures. Raising your hand to a level higher than
your head means that the sound to be produced is loudest. Lowering your hand adjacent to
your face means the sound to be produced is the regular or medium-loud volume. Lowering
your hand further down to your rib level is for the soft volume. Leveling your hand to your
knees means the sound should be a whisper. Choose a declaration or statement and ask
the participants to say it—but ask them to repeat the last word four times, once per each
volume level. For example, the declaration is, “Ang mundo ay atin.” Set your hand first at the
highest level and have them say the phrase as loud as they can. The word “atin” should be
pronounced four times in a descending volume, the first should be the loudest, the second
should be medium-loud, the third should have the soft volume, and the last “atin” should
sound like a loud whisper. You may repeat this but starting from the lowest (loud whisper)
declaration of the phrase “Ang Mundo ay atin” with the word “atin” ascending in volume.
31
Pitch
Have the participants count from one to five, with each count followed by the word “Tick-a-
Tick.” The pitch of the numbers should be low and rounded, while the pitch for “Tick-a-Tick”
should be high and piercing.
Pitch exercises can be supported by body movement. The participants may do the gesture
of throwing a bowling ball when reciting the number. Have them imagine that the bowling
ball is their voice. Have them aim and throw the bowling ball as powerfully as they can.
Again, the numbers should sound low and rounded. The movement of throwing a bowling
ball will help make the participants start on a low posture with bended knees. Immediately
after releasing the imaginary bowling ball, ask the students to stand up tall with one of their
arms raised as high as possible while saying “Tick-a-Tick.” The sudden shift in postures
and levels helps the body recognize the need to
change the pitch.
The exercise should sound like this:
One (bowling ball release
-- low and rounded)! Tick-a-
Tick (standing tall, one arms
raised -- high and piercing)!
Twoooooooooo! Tick-a-Tick!
Threeeeeeeeee! Tick-a-Tick!
32
Tongue Twisters
Finally, choose some well-known tongue twisters and have the students recite it as loud and
fast as they can. The tongue twisters can be recited as a whole group.
Here are some tongue twisters you can have your participants try out.
Filipino
“Nakakapagpabagabag” (10x)
“Ayala, Loyola” (10x)
“Pasko, Paksiw” (10x in progressing speed)
“Ang relo ni Leroy ay Rolex” (3x in progressing
speed)
“Minikaniko ni Moniko ang makina ng minika ni Monika
habang pinipitik-pitik ni Pepito ang pitumput-pitong
puting tupa sa may pitimini.” (3x in progressing
speed)
English
“She sells seashells by the seashore.” (5x in
progressing speed)
“Peter Piper picked a peck of pickled peppers. A
peck of pickled peppers Peter Piper picked. If Peter
Piper picked a peck of pickled peppers, where’s the
peck of pickled peppers Peter Piper picked?” (5x in
progressing speed)
“How much wood would a woodchuck chuck if a woodchuck
could chuck wood? He would chuck, he would, as much as
he could, and chuck as much wood as a woodchuck would
if a woodchuck could chuck wood.” (5x in progressing
speed)
33
best practices
Be mindful of...
WHAT YOU SAY:

□ Use the language that is most comfortable for everyone.
□ Call the participants by their names. Ask if you forget. Recognizing
them by their names will make them feel valued and important in the
process. This sense of worth may make them more expressive and
make the interaction more enriching and powerful for everyone.
□ Use “Us” and not “Me.” Let the students feel that they are SHARING
instead of “proving themselves” to the group. The facilitator is part of
the community and not a master to be pleased.
□ Use AFFIRMATIVE and APPRECIATIVE words. Practice POSITIVE
reinforcement. It’s OK to make mistakes because we learn from them.
□ Say “PLEASE,” “THANK YOU,” and “SORRY.” Facilitators should
practice what they preach. Thank the participants even for the
smallest amount of effort that they put in. VALUE their work and their
contributions.
□ Ask open questions that can be answered beyond yes and no.
□ Articulate. Be specific.
34
WHAT YOU DO:
□ Encourage H.O.P.E or Highlight Of Positive Experiences. Encourage
participants to think and reflect on the potential of their outputs and
experiences. This can motivate and inspire them to give their best. This
will also help retain a positive feeling that will inspire them to take their
learnings outside the activities.
□ Connect to your student’s humor. Connecting with them on a candid
level will establish a more personal approach to learning. It will also
encourage the participants to be more open in expressing themselves
and sharing their thoughts and ideas about the experience.
□ Acknowledge “Feeling as Thinking.” Observe how the participants are
with every activity. Adjust the instructions as necessary.
□ Ensure inclusivity. Refrain from discriminating against others on the
basis of sex, religion, beliefs, ideas, or physical appearance.
□ Balance the variety of activities: individual, partner, and group activities
stimulate different aspects of learning for different kinds of learners.
□ Plan your session and prepare the materials you may need for the
activity.
□ Remember that THE CHILD IS THE CURRICULUM. Change the
activities based on the abilities and the context of the participants.
□ Wrap-up the session by asking the participants what they’ve learned.
Support them by providing additional learning points that they may
have missed.
35
Tips
be aware of
SPATIAL RELATIONSHIPS
As much as possible, stand or sit in a circle so that the facilitator
becomes part of the community and not someone outside the
session. If there are two facilitators in the group, make sure the
facilitators are stationed across each other.
In theater making, spatial relationship refers to the distance
between things onstage: the distance of one body to another
body; one body (or bodies) to a group of bodies; and the body
or bodies to the architecture.
We may also understand spatial relationship beyond the stage
only and consider, for instance, the distance of the actors in
relation to people (everyone in the shared space), objects, and
the actual shared space.
Reminders
An important note when working with young participants: Do not pinch,

hit, or shout at those who do not want to participate. Allow them to sit and
observe until they feel comfortable to join the activity.
36
HOW YOU ARE FEELING & THINKING:
□ Be patient.
□ Be mindful of giving promises. Don’t make promises that you cannot
fulfill or are beyond your capacity.
□ Be open and responsive to feedback.
Make it a Habit: Ask for Feedback
Continuously improve your workshop sessions by allowing participants to provide honest

feedback after each activity and after each session.
Immediate thoughts and feelings shared by the participants are great forms of feedback. For
example, if after an activity a participant shares, “I was confused at first…” this may be a cue
that the instructions in the activity are not as clear as you want it to be. Be a good listener and
acknowledge their thoughts.
Here are other strategies to intentionally ask for feedback:

• Use varied and appropriate ways on how the participants can express how they feel in
each activity.
For example, you can prepare a simple mood rater where the participants can rate how
they feel after the activity by using cut-out shapes or stickers.
You may place an evaluation board in an area where participants can comfortably rate
their experience and the facilitator.
• If you asked someone to observe your session, go through your planned session with
them and reflect on the following:
» What worked well? Why?
» What are the areas that need to be improved? How can they be improved?
37
CLIMATE TIPS:
Practice what you preach. Integrate climate-resilient and sensitive practices during the
workshop.
□ Prioritize safety. Choose a location that is not vulnerable to hazards like flooding and
landslides. When the weather seems bad, don’t hesitate to reschedule the activity and
provide accurate weather conditions and preparedness measures to students.
□ Orient the students on the safety precautions of the venue during the start of the
workshop. Always have a first aid kit and a go bag. Discuss evacuation plans in case of
emergency. If possible, the participants’ kit may include a grab kit that they can use for
disasters. A list of grab kit essentials are in the appendix.
□ Go zero waste. Reduce waste that you generate by using recyclables in your workshop.
This will help reduce GHGs from waste materials. Ask students to bring their own
utensils and water bottles. Ensure availability of drinking water for refill.
□ Try more vegetables. Animal agriculture is one of the top industries contributing to
climate change. If you will be providing food for the students, include and prioritize
vegetables in the menu. Make sure to reduce beef and pork and opt for chicken or fish.
If students are bringing packed food, encourage them to eat more fruits and vegetables.
□ Conserve electricity. Burning of fossil fuels is the top cause of the increase in GHGs.
In 2019, only 21% on our energy comes from renewable energy. The rest comes from
fossil fuels. Remind students to turn off lights and unplug appliances when not in use.
□ Conserve water. Drought is one of the impacts of climate change. Switch off faucets
and don’t play with water.
□ Be resourceful. Excessive consumption affects our natural resources. Reuse waste
materials for any of the props/set design. Make sure to store it properly for its next use.
If possible, use biodegradable materials for proper disposal.
38
Contents
the
Toolkit
paglikha:
creation phase
palabas:
presentation phase
pagpapalalim:
processing phase
*session guides, resources,

and activities
39
Collaborative performance-
making typically goes
through three phases—
creation, presentation, and
processing.
Keep these in mind when designing your sessions and overall

timeline. Collaboration is fun and highly creative but it can
also sometimes be a bit unpredictable. These three phases
help organize the creative process to make sure that the project
timeline is right on track.
Use the Session Guides to design your workshops.
Use the concepts in the Resources as anchors that

strengthen your sessions and deepen insights.
Facilitate Hands-on Activities to help participants
bring their ideas to life through props, music, script, etc.
Use the Processing Activities to design the sessions.
40
PAGLIKHA
(creation phase)
This phase is all about exploring and experiencing together. In this phase, participants
undergo various theater activities and exercises that enable them to learn and think through
issues on climate and the environment. Through these exploration sessions, the whole group
will be able to develop the narrative devices and themes that they would like to express to
the audience.
Filipino Culture Climate Input Theater-making Skills

Five Types of Culture Seven Environmental Session Guides: Story &
Principles Narratives
PALABAS
(presentation phase)
This phase is all about sharing to the audience. In this phase, participants will draw from
their explorations in the Paglikha phase to put the performance together.
The basic building blocks of a theater production will be a principal tool for the facilitators to
help develop different ways to create a performance. As mentioned earlier, this phase will
provide a system to share a creative performance effectively using the learnings and tools
from the art of Theater. Allow everyone to be creative and playful, guided by the elements of
theater, and to learn how to organize all of these in a sharing to the audience.

Filipino Perspective on Sustainable Basics of Theater
Development Development Goals Production
Hands-on Activities
41
PAGPAPALALIM
(processing phase)
After learning how to prepare the participants for a creative presentation, it is best to deepen
their understanding about what happened in the workshop. In this phase, the group will
reflect on what they have learned about culture and climate through the activities in the
creative workshop. Facilitate interactive and fun activities that shall practice a multi-sensory
experience, where students can reflect on the past activities.

The Social Universe Climate Action Processing Activities
Paglikha
Creation Phase
Filipino Culture
Feeling: Affective Dimension
Use the concept of Five Types of Culture as an anchor to strengthen
your Paglikha workshop sessions
Five Types of Culture

In the book, “Celebrating the Creative Living Presence,” writer and academic Dr. Felipe De
Leon, Jr. identified five types of culture existing in a given society. These cultures prove that
in a society, there can be many cultures forming. These cultures also denote that resources
and conditions relating to its accessibility greatly influence our way of living and relating to
one another in a given society.1
42
The first two types of culture are fear-based. They are premised upon the belief in scarcity
and a deep sense of insecurity. It looks at the person as a separate entity and a being
isolated from others--individualism. There is always competition to possess and accumulate
resources and privileges. These types of cultures value those who can get ahead, employing
domination, and maximum possession. Let us learn more about the Five Types of Culture.
1. Culture of Power
This culture is attached to power, privilege, control, and
domination. This culture looks at the person as a dominant
character in the environment, emanating the privilege of taking
control and domination of all organisms in the ecosystem.
This culture results in the abuse of resources and the wanton
disregard for the finiteness of resources on earth.2
2. Culture of Wealth
This culture is attached to wealth, material goods, possession,
pleasure, and comfort. It capitalizes on the idea of ownership
and unnecessary accumulation of resources for one’s benefit
and pleasure. It denies human beings’ role as stewards of the
environment and all of its resources but rather focuses on taking
ownership of the earth’s bounty. This results in the unequal
distribution of materials and resources needed to sustain other
human beings’ lives and other organisms in general.
The following 2 types of culture are more trust-based. This trust comes from the perception
that all beings are one (kapwa), and there is a strong sense of community. It also looks at
the environment as a system composed of various organisms and elements, each playing a
different yet significant role to function as one.3
3. Culture of Shared Being

This culture is devoted to searching for wisdom, creativity,
the strength of character, love, and sharing. Its essence is in
devotion to a higher cause. It sees all other beings as equal to
himself/herself and that there is a shared essence and purpose
to its existence. It recognizes the value of others as significant
as he/she values himself/herself.4
43
4. Culture of Simple Needs
This culture pertains to practical life. It is concerned with satisfying
one’s basic needs. It also moves the person to help others in
times of great need, stress, or disaster. It values life as a gift
given to all. This culture promotes courtesy and restraint in the
use of material goods and resources.5
5. Ethnicity or Culture as Creative Construct

This is society’s core culture. Through time, a society constructs
a unifying vision of life where core values arise and cultivate the
necessary skills needed to sustain life on earth. Ethnicity goes
beyond identity. It transcends the unique context and environment
where the person thrives by developing life skills rooted in his/her
community and the elements that comprise it.6
In the Philippines, our strong sense of animism is rooted in our culture of shared being.
Our belief in the diwatas of nature speaks strongly of the deep respect we have for other
organisms’ lives in the environment. Our pre-colonial ancestors offer dances, gifts, songs,
and prayers to deities for a bountiful harvest. We recognize our co-existence with the
elements in the environment that help us to sustain our life.
As Filipinos, we frown upon the destruction of our natural resources. We have structures
in our society that oversee the conservation and protection of the environment. We have
laws that pursue illegal loggers and illegal poachers of wild and endangered animals. We
have landmark cases that seek to protect our sources of life- forests, watersheds, and
marine resources. Some groups are at the forefront of keeping the government in check for
environmental preservation and protection. We educate our youth about the importance of
biodiversity conservation in order for an ecosystem to thrive. All of these things are at the
heart of our culture. However, due to globalization, we open ourselves to the world, and we
also get influenced by other cultures putting prime over industrialized economies that may
not share the same values that we have.

1. F. M. De Leon, Celebrating the Creative Living Presence: A Culture of Healing, The
Asian Social Institute, 2017, 14.
3. De Leon, 14.
4. De Leon, 15.
5. De Leon, 15-17.
6. De Leon, 19.
44
Climate Input
Thinking: Cognitive Dimension
Use the concept of The Seven Environmental Principles as an
anchor to strengthen your Paglikha workshop sessions
Seven Environmental Principles1

The key to advocating for the environment and shining light upon issues such as climate
change, is to develop awareness and propel people into action towards environmental
protection and conservation.
What once was lush vegetation has turned into factories or subdivisions. The beautiful
mountains that are home to many flora and fauna have been leveled for mineral extractions.
Greenhouse gases like carbon dioxide, methane, and nitrous oxide occur naturally in the
atmosphere. They help regulate the Earth’s temperature. However, human activities like
burning of fossil fuels produce too much of these greenhouse gases which affect how our
atmosphere manages the temperature. This leads to the changing climate that we are
experiencing.
We have placed ourselves as masters over the environment without realizing that this
behavior will soon be our demise.
The following Seven Environmental Principles provide a scope to make us think and reflect
on our actions before it is too late. We are now seeing their effects on the environment.
Climate change has resulted in many threats and risks to life, and we are now in a climate
emergency.The Seven Environmental Principles also provide lenses to look at the emerging
need for an immediate climate action.
We can use the Seven Environmental Principles to calibrate and put a renewed perspective
on how we think about and treat the environment.
45
1. Nature knows best
There are natural flows and systems in nature. Take, for example, how the sun enables the
process of photosynthesis for plants to grow. Plants which human beings and animals forage
for food and nutrition. The utilization of minerals through the nutrient cycle of phosphorus,
carbon, nitrogen, and sulfur in the land, air, and water of the earth promotes a certain balance
to maintain a stable life source. The flow of energy from the sun and eventually from one
organism to the other in symbiotic relationships of producers and consumers all prove that
nature has its own way of knowing how to sustain the balance of life.2
This balance of life is maintained efficiently by nature that when a man-made disruption
occurs, the whole ecosystem is bound to collapse, endangering life. For example,
deforestation to convert trees into lumber or the land area into agricultural, residential, or
commercial areas would result in a weaker capacity of the soil to absorb water leading to
flooding and landslides. In addition, it affects the habitat of animals living in the forest which
may affect the entire forest population. In addition, as trees absorb carbon dioxide, the
decrease in forest cover also reduces our carbon sinks, which now leads to an increase in
greenhouse gases in the atmosphere which causes climate change.
We need to respect and appreciate the natural Earth systems so that we can limit our impact
to the environment.
The effects of climate change affect the habitat of species and threatens their survival. For
example, intense rainfall and typhoons affects seagrass beds. Because of the disruption
due to sedimentation and erosion, the clarity of water will be reduced which will affect
photosynthesis of the seagrass. Seagrass serve as food and shelter to many organisms like
dugong, green sea turtle, squid, and shrimp. It also absorbs carbon dioxide and generates
oxygen. Seagrass beds serve as nursery areas for juvenile fish. Humankind benefits from
seagrass bed through its economic value for fisheries and tourism and protection from storm
especially from storm surges.
46
2. All forms of life are important
The ecosystem can be likened to a huge jigsaw puzzle with pieces that fit perfectly well to
create a beautiful picture. Taking one piece out will make the jigsaw incomplete and that gap
will affect the whole picture’s beauty and purpose.
Such is the case in our environment. Each living organism is like a piece of a puzzle that
gives us a beautiful picture to look at and that sustains life on earth. One organism, one life
form eliminated from the environment, harms its entirety and will create an indelible mark
that will compromise life as we know it.
We hear about the different endangered species in the Philippines; these are life forms at
the brink of extinction. Other species are already extinct. Their extinction is already causing
cascading effects in the food web, affecting the balance of the ecosystem itself. Their
extinction has negative impacts on our biodiversity.3
As each life form has a role to play on Earth, an extinction of a species would cause an
adverse effect on our biodiversity. The Philippines is considered as a megadiverse region
and a biodiversity hotspot, meaning we have a rich biodiversity but it’s also threatened. We
classify the threats to species as Critically Endangered (CR), Endangered (EN), Vulnerable
(VU) , and Other Threatened species (OTS).
An example of a critically endangered species is the Philippine Bare-backed Fruit Bat

(Dobsonia chapmani). This particular kind of bat can only be found in the Philippines
specifically in Cebu and Negros Islands.4 Although much research is needed to understand
the Philippine Bare-backed Fruit Bat, its primary role is to disperse seeds as their diet
consists of fruits. Currently, it is being threatened by deforestation and human meat
47
consumption.5 Another example of a critically endangered species is the Palawan Forest
Turtle (Siebenrockiella leytensis), another endemic species.6 This turtle helps reduce pests
by feeding on golden kuhol and mosquito larvae. They also connect aquatic and terrestrial
environments by bringing in nutrients. They dig tunnels in the riverbank which makes it
fertile. They also help germinate seeds as part of their diet.7 The Palawan Forest Turtle is
threatened by habitat destruction and illegal wildlife trade.8
3. Everything is connected to everything else

Nature is in itself a system where a group or community of organisms interact with each
other. Thus, we refer to it as an “ecosystem.” The relationships among various elements
in nature vary from simple to complex. But, they all
function as one.9
Each element in nature, both living and

nonliving, is bound to form a functional whole.
For example, the tree is host to many other
organisms - ferns, fungi, birds, etc. On the one
hand, plants provide oxygen to animals, while
on the other, animals provide carbon dioxide to
plants.10
There is an interconnectedness among many elements in nature. Human interactions with

nature and the environment sometimes alter these connections and relationships. We have
separated ourselves and put ourselves at the ecosystem’s pinnacle as if we are detached
from this interconnectedness.
Tips
Learn more about biodiversity and climate change through Samot-

Saring Buhay: A Toolkit on Philippine Biodiversity. Go to www.bit.
ly/DepEdCCE to get a copy. You may also scan the QR code to to
go directly to the site.
48
4. Everything Changes
Nothing is more beautiful and rewarding than seeing a plant grow from a tiny little seed to
robust greenery. Or a caterpillar undergoing metamorphosis and
turning itself into a beautiful butterfly. Or how a sperm and an egg
cell come together to form a human being.11
These changes occur naturally and are a testimony to the saying

that nothing is permanent in this world other than change. Change
is indeed part of life, and the environment is host to many of these.
Climate change is not purely a human-induced event but also a
natural one. It is, however, being driven by human activities at an
alarming rate.
Change is part of life. However, the deliberate disregard for the environment has created
harmful changes not only for human beings but other life forms too. For example, building
sites on top of healthy coral reefs as tourist attraction may damage the coral reefs. Aside from
not being a sustainable source of income from tourists, damaged coral reefs will reduce the
population of fishes. It also affects the natural protection against storm surges. Destruction
of marine life would decrease our carbon sink as the ocean absorbs a quarter of the carbon
dioxide we produce. The changing climate which leads to warmer temperatures, increases
ocean acidification which threatens marine life even without human intervention. Let us not
make it more vulnerable.
5. Everything must go somewhere

We must promote the sustainable use and management of our resources. Currently, we
generate so much waste that garbage accumulates everywhere. With the circular economy
approach, the by-products of our consumption can go back to the environment. For example,
food waste may go back to the earth as a decomposed matter to help plants and other
organisms grow.
Such is the order of life on earth - everything has a destination and a place to go to
regenerate its use. For instance, particulate matter in the air is being washed down by rain,
fungi and bacteria aid in the decomposition of organic matter, while biodegradable wastes
decompose and turn into nutrients for the soil. However, our present industrialized setting
has created solid and liquid wastes that are difficult to break down and return back to the
environment.12 It is now difficult to locate where all of these wastes are going. Pollution has
49
become a problem in many countries especially in the Philippines. Thus, the Ecological Solid
Waste Management Law (RA 9003) was passed to adopt a systematic, comprehensive and
ecological solid waste management program in the country.
6. Ours is a finite earth

We are currently at the age of massive consumption. We are disregarding the fact that
resources are limited; we operate under economic systems that do not support the finiteness
of our resources on earth.
For example, high demand for timber has caused massive deforestation, stripping us of
sources of clean air. Oil rigs that have been extracting fossil fuels for the booming industries
and transportation have disregarded the fact that fossil fuels are limited resources. Once
fossil fuels run out, we will be at the brink of collapse because it will take years for it to be
replenished. Our consumption behavior is so overwhelming that it is hard for the environment
to keep up.13
The international research organization, Global Footprint Network, found a very ingenious
way to illustrate the finiteness of the earth by raising awareness on the Earth Overshoot Day.
Simply put, this day marks the date when humanity’s demand for resources and services
exceeds what the earth can regenerate in a year.
“To determine the date of Earth Overshoot Day for each year, Global Footprint Network
calculates the number of days of that year that the Earth’s biocapacity suffices for humanity’s
Ecological Footprint. The remainder of the year corresponds to global overshoot.”14
For 2020, the Earth Overshoot Day fell on August 22. This means that during that year, the
earth’s biocapacity was only able to provide for 235 days out of the total 365. The remaining
number of days from August 23 onwards was an overshoot of how much the earth can fend
for humanity. If we continue living this way, we are surviving on a deficit resource and it
wouldn’t be too long that we won’t be having enough to sustain life on earth.This reality of
having an overshoot in earth’s finite resource is a direct opposite of what the Sustainable
Development Goals aspire to achieve- that is to sustain life on earth for future generations.
Human beings take so much from the environment without considering that it is limited, and
there are still future generations that will depend on it. We have become materialistic and
greedy that we take so much for our own benefit.
50
7. Nature is beautiful, and we are stewards of God’s creation
It is important to establish that we, as human beings, are gifted with intellect and reason not
to dominate the other life forms on earth but to help them flourish. Yet, this has not been the
case. We have evolved ourselves to create dominion over the earth and take everything as our
own. This is the dominance model that has
been the prevailing purview which pushes
forward anthropocentric environmental
ethics. Nature and the environment in this
model assume a utilitarian value for human
beings’ exploitation. Had we known better,
we could have assumed a less threatening
position by recognizing that human beings
have no special position in the ecosystem
but to foster a relationship with the
environment and acknowledging that each organism has its own intrinsic value. This is the
stewardship model which is ecocentric– recognizing that the value of harmony with nature
that is nurturing and caring will be beneficial to all.15 It is unfortunate that dominance rather
than stewardship has been the marching order. Thus, we are left with an environment that
is teetering to extinction.
Some of the world’s great religions call for stewardship of the environment. Among Christians,
the first book in the bible, Genesis, was about the story of creation which emphasizes how
God as the creator has made the earth bountiful and for human beings with the gift of reason
and intelligence to have responsibility to multiply the earth’s bounty. Furthermore, the Catholic
Pope wrote the Laudato Si to reinforce this responsibility as the world is experiencing the
global problem of climate change. The Islamic tradition on the other hand, is strong in their
environmental ethics that promotes relationships founded on ‘adl (justice) and ihsan (equity)-
upholding the Prophet Muhammad’s message about hurmah which recognizes that all living
creatures are worthy of protection and kind treatment. Also, Buddhism advocates for non-
greed, non-hatred and non-delusion in all human pursuits. While Hinduism on the other
hand holds to a very high esteem the sanctity of life. Only God has absolute sovereignty
over all creatures and human beings have no dominion over them.16
Religious groups value the need for climate action as our role in being stewards of God’s
creation. Pope Francis wrote Laudato Si: Encyclical on Care for Our Common Home in 2015
which stressed climate change as a global problem with grave implications and laments
that the poor (who are least responsible for causing the problem) are disproportionately
51
vulnerable to its harmful effects.17 Recently, the Pope criticized the weak response of
governments in confronting the crisis. In the Philippines, the Catholic Bishops’ Conference
of the Philippines is one of the church institutions to divest from coal by adopting renewable
energy in Catholic schools, and diocesan and parish centers, and establishment of ecology
desks in every diocese.18 Muslim leaders adopted the Islamic Declaration on Climate
Change which underscores greenhouse gas emissions reduction and supporting vulnerable
communities. Truly, religion remains a binding force to care for the only planet which can
support life.
Even among indigenous peoples, harmony with the environment and the relationship with
nature is highly regarded. Philippine folk groups who practice traditional cultures regard
nature and the environment as sacred and awe-inspiring.19 The Ikalaans of Northern Luzon,
for instance, have fought to preserve their environment and natural habitat until today. Having
control of their ancestral domain in the 1970s, they have maintained to preserve and develop
their forests for livelihood and for the protection of wildlife.20 In 2017, indigenous peoples
(IPs) communities (the Maeng and Banao in Abra, the Agta of General Nakar in Quezon,
the Ayta of Maporac, Zambales, the Buhid Mangyan in Mts. Iglit-Baco in Mindoro and the
Menuvu of Pangantucan in Mt. Kalatungan) together with non-government organizations,
government agencies and international organizations came together to launch the Indigenous
Peoples and Local Communities Conserved Areas and Territories (ICCAs) Project aimed at
protecting the landscape and seascape ecosystems located in the IPs ancestral domains;
considered to be their sacred spaces and ritual grounds. The conservation effort empowered
the indigenous peoples to enforce leadership and stewardship in preserving the natural
resources necessary for their communities’ sustenance of life; allowing them to have full
control, surveillance and enforcement. A total of 154,868 hectares were covered by the
project, an impressive achievement of 130% of the set target to cover vital terrestrial sites
and ancestral waters. (Global Environment Facility 2019)
Tips
climate change
For more information on climate change, please check the
annex, page 117 on Digging Deeper on Climate Change
52
Notes
1. The Seven Environmental Principles are core messages articulated by the Miriam College
Environmental Studies Institute’s advocacy unit called Miriam-P.E.A.C.E. (Public Education and Awareness
Campaign for Environment). They use these principles to introduce basic environmental ethics in the
Philippine context. Miriam-P.E.A.C.E borrowed, expanded, and contextualized some of these principles from
American environmentalist Barry Commoner’s “Four Laws of Ecology.” (2003).
2. A. P. Galang, D. P. T. Reyes, E. L. Dela Cruz, M. T. M. Oliva, L. C. Pinpin, S. R. Mesina, and M.

R. G. Wood, Seven Lenses or environmental principles as if Adults mattered, The Bookmark, Inc. 2003, 3-11.
3. Galang, et al., Seven Lenses, 25-29.
4. Department of Environmental and Natural Resources, Updated National List of threatened

Philippine Fauna and their Categories, DENR Administrative Order 2019-09, Manila.
5. Asian Species Action Partnership, Philippine Bare-backed Fruit Bat Dobsonia chapmani.
https://www.speciesonthebrink.org/species/philippine-bare-backed-fruit-bat/
6. M. Wayner. Dobsonia chapmani: Negros naked-backed fruit bat. Animal Diversity Web. 2013.
https://animaldiversity.org/accounts/Dobsonia_chapmani/
7. Turtle Conservancy, Palawan Forest Turtle (Siebenrockiella Leytensis). https://www.

turtleconservancy.org/programs/palawan#:~:text=The%20Turtle%20Conservancy%20is%20
working,Forest%20Turtle%20in%20the%20Philippines.
8. C. A. Formoso, Single hatchling brings hope to “Palawan forest turtle” conservation, Philippine
News Agency, 2018. https://www.pna.gov.ph/articles/1042202#:~:text=Since%20the%20Palawan %20
forest%20turtles,and%20make%20it%20more%20fertile.
9. Galang, et al., Seven Lenses, 48-49.
10. Galang, et al., 50-51.
11. Galang, et al., 67-84.
12. Galang, et al., 88-90.
13. Galang, et al., 110-115.
14. Global Footprint Network 2021.
15. Galang, et al., 144-145.
16. Galang, et al., 136-142.
17. P. Francis, and S. McDonagh, On Care for Our Common Home, Laudato Si: The Encyclical of
Pope Francis on the Environment with Commentary by Sean McDonagh, New York: Orbis Books, 2016.
18. Catholic Bishops Conference of the Philippines, Green group lauds church divestment from
coal, CBCP News, 2019. https://cbcpnews.net/cbcpnews/green-grouplauds-church-divestment-from-coal/.
19. Galang, et al., Seven Lenses, 41.
20. Galang, et al., 145-146.
53
Theater-making Skills
Doing: Physical Dimension
Use these Session Guides to design your Paglikha workshops.
The creative method of utilizing storytelling devices is essential in engaging the participants
to tell their stories in various ways. The process also provides the necessary avenue in
understanding the climate crisis and how it affects our daily lives. Through these sessions,
participants will be able to build an understanding of their own physical capabilities as well
as the direct impact of the climate to themselves and their environment. Finally, they will also
incorporate these insights as they create their own performance.
Likas-Lakas
Nature & Natural Power
Description of the Session

In this session, the participants will map their natural talents through a “performance
jamming” in a big group circle. This jamming enables the facilitator and the participants to
learn about each other’s skills. Take note of these talents when creating the performance.
Utilize the participants’ strengths when planning for the type of performance they can do as
a team and the roles and responsibilities that each person can play in the whole process.
Materials
Objects that can help the students fulfill the activity’s objective (i.e., to share their natural
talents) such as props, costumes, musical instruments, gadgets, etc.
Purpose of the Session

Through the “Likas-Lakas” activity, the participants shall be able to:
• Describe what they are naturally good at;
• Understand that the set of unique skills and talents they are best known for or secretly
good at are manifestations of the natural gifts of nature; and
54
• Reveal the strengths and possible contributions of every participant in collaborative
projects and performances, society and the whole ecosystem.
At the end of the session, the participants will be able to identify and reflect on their unique
skills and talents as natural gifts of nature.
Procedure
This session has a three-part progression:
Activity 2
Activity 1 Activity 3
Pagpapakilala
Go, go, go! Game Tara, jamming tayo!
individual self-
ice breaker improvisation
introduction
Form a big circle. Declare that the circle is a

safe space where no one is subject to judgment.
The participants may laugh, cheer, clap for their
teammates, and feel safe to share inside the big
circle.
As a group, take a deep breath: collectively inhale,

then exhale. Repeat at least three times. Look at
one another. If possible, try to have a moment of
eye contact with all participants. Smile.
Reminders
If there are two facilitators in the group, make sure the facilitators are
stationed in different locations of the circle, preferably across from each
other. (See Spatial Relationships on page 36)
55
Activity 1
Go, Go, Go! Game
A jam activity to help break the ice among the participants. The usual formula is to Declare
an Invitation + Execute an Action.
— Anyone can declare an invitation by saying, “Lahat tayo ______!”
— Then, everyone will affirm the invitation by saying, “Go, go, go!” before doing the action
together (including the facilitator).
Lead: Lahat tayo tatalon!
All: Go, go, go!
(Then, everyone jumps together.)
Ideally, this is a volunteer-type activity where anyone can start, and anyone can lead the
next action. However, if you need to start the game, implement a system where the current
leader will choose the person who will lead the next action.
When all the participants have already tried leading an action, you can still have another
round. This time, encourage them that “anyone may start and anyone may lead next.”
After the Go, Go, Go! Game, take a short, two-minute break.
Power Up!
Playing some music or chanting can add more energy and
hype to the Go, Go, Go! Game. Ask the participants to
choose the music or create a quick chant.
56
Activity 2
Pagpapakilala
Invite everyone to think of their most unique talent, skill, or something that only each of them
can do. The level of excellence in any particular skill and talent does not matter. As long as
they can do it, then it is worth sharing in the circle. If they have multiple skills ask them to
choose one thing they really want to share with the group.
Anyone can start, and anyone can go next!
Charice goes to the center of the circle. Without
telling anyone her name, she performs a powerful
rendition of the song, “One Moment in Time.”
(then, everyone jumps together)
Set time limit of 15 to 30 seconds per introduction, so everyone will get to the high point of
their introduction quickly.
Activity 3
Tara, jamming tayo!
When everyone has finished, do another round. Again, anyone can start, anyone can go
next. As the second round begins, the first lead will take the center of the circle sharing a
talent or special skill. Here’s the twist! Another student may join the center and jam with the
other performer. Their two talents may not be connected at all - one can be singing, while
the other can be reciting a poem.
The circle may accommodate one to four participants sharing their skills all at the same
time. Any one of the participants who are sharing may leave or stay as long as they want.
You may pick it up from the jamming session and develop a new performance scene where
students can showcase what they are naturally good at. This scene may feature a group jam
of students sharing their talents in performing.
57
close the session
Reflection Activity
Gather the students and form a circle.
You may process the session right after the last activity is finished. You may also give them
some time to get a notebook to write down their thoughts first.
Writing or “journaling” will help students process their thoughts and encourage reflective
thinking. This also reduces the pressure from sharing ideas and feelings for students who
are shy or introverted.
Seeds for Reflection
guide questions
• How do you feel after sharing your natural talent?
• What is your own body telling you in terms of what we can
share as a unique special skill?
• How can we listen to our ‘nature’ when we nurture our talents,
skills, strengths and when we address our weaknesses?
• Which environmental process can we relate to in the process
of sharing your talents and relating to others?
58
culture of shared being
As we discover more about ourselves and the relationship we have with
our fellow humans, we also recognize our relationship with other forms
of living things. We can also come to understand the natural resources
that help nurture our own strengths and potentials. We are nursed by the
generosity and the ecology of Nature. Its gifts are sources of growth and
care for us. In this act of sharing our talents, we are invited to look into
our own humanity and ask how else can we practice the same generosity
that our planet exhibits. Let us practice a culture of sharing ourselves to
our kapwa, to our communities, and together, let us give back to our
environment.
Digging Deeper
Panata ng Kabataan sa Kalikasan

The Youth’s Promise to the Environment

Through a series of big and small group discussions, facilitators and participants will map
their current ideas, dreams, and promises (plan of action), for themselves, their peers, and
the environment. From this exchange, the participants will be able to create the initial or
draft lyrics of a song. The session ends with a jamming activity using found objects as
melodic and rhythmic instruments. The jamming activity will help the facilitator synthesize
the session.
59
Materials
• Pen or Marker (Various colors)
• 1/4 sheet of manila paper or cartolina
• Any object within the participants’ reach (i.e., water bottles, bags, pens)
Note: Remind students to avoid sharp and hazardous materials
• Whiteboard or Blackboard

Through the Panata ng Kabataan sa Kalikasan session the participants shall be able to:
• Strengthen their capacities and capabilities and for them to acknowledge their strengths
and limitations.
• Describe their perceptions towards themselves, their peers, and the environment.
• Express empathy towards themselves, others, and the environment.
• Build relationships with themselves, their peers, and their environment.
Pre-Session Requirement
• Make sure to follow the necessary safety protocols for every activity.
• Preparing the space
This session needs a big space where the participants can move safely.
Station all bags and belongings of the participants in one designated place, and move all
chairs and tables against the wall. For everyone’s safety, inspect and clear the immediate
surroundings for possible sources of injury such as staple, wires, nails, pins, and other sharp
objects.
Procedure
The entire session is composed of three activities. These activities follow a certain progression
of understanding one’s self, their peers, and the environment. Each part solely focuses on
one particular aspect of this progression.
Self Mapping Group Mapping Creative Outputs
60
Part 1
Self Mapping
Materials
• Pen or Marker (assorted colors)
• 3 whole sheets of manila paper or cartolina
Instructions
1. Divide the class into three different groups. Ask each group to form a circle. Give each
group a sheet of manila paper or cartolina.
2. If you are facilitating alone, make sure to provide equal attention to all groups. If you
have co-facilitators, assign a facilitator for each group.
61
3. Once the circles have been made, assign one of one of the following themes to each
circle:
—Sarili
—Kapwa
—Kapaligiran
4. Ask the participants to share their ideas relating to the theme assigned to their circle.
Give them 25 to 30 minutes to discuss.
5. After the discussion, ask each circle to write down or illustrate the individual ideas that
they shared onto their group’s manila paper/cartolina.
Part 2
Group Mapping
Materials
• Pen or Marker
Instructions
1. Each group will integrate their individual ideas. Ask each group to make three separate
columns at the back of their manila paper/cartolina. Label the first column as “Pangarap”
(Sana..), the second as “Pangako” (Mula ngayon...), and the third as “Pakiusap”
(Dapat...).
62
2. Ask the participants to write their
Pangarap, Pangako, and Pakiusap on
their group’s manila paper/cartolina.
3. Ask each group to post their manila
paper/cartolina on the whiteboard/
blackboard.
4. Assist the participants in synthesizing
their circle’s output within their group.
(They do not have to share this with
the whole class yet.)
Part 3
Creative Outputs
Materials
• Pen or Marker
Instructions
1. Assign a specific form of creative output to
each of the three groups:
—Rap
—Poetry
—Song
2. Give each group 25 to 30 minutes to
prepare their output. They can use
the objects that they currently have as
improvised musical instruments.
3. Each of the group’s performances will
rely on their outputs from Part 2: Group
Mapping.
4. Synthesize the session for the day with
the participants.
63
close the session
Reflection Activity
Gather the students and form a circle. You may process the activity right after the activity or
you may give them some time to write down their thoughts in a journal first. Here are some
guide questions to help process the activity:
guide questions
Self-Mapping:
• How do you see the best version of yourself?
• How do you see your peers/neighbors?
• How do you see the environment in which you live?
• How do these three things relate to each other?
Group Mapping:
• How do you see your dreams coinciding with how you promise to
behave in the future and vice-versa?
• How do you see these promises affect your pakiusap?
• How do you see how your dreams also affect your pakiusap?
• How do these three things relate to each other?
Creative Outputs:
• How do all of these concerns manifest into one big collective action?
64
Future Living Museum

Future Living Museum is a session done in pairs and by group where participants take turns
becoming an artist and an artwork. The participants will create body sculptures and the room
will serve as a “museum in the future,” showcasing artworks about the past depicting a time
when the environment and its resources are being abused. This session will tackle utilizing
physical bodies to tell a story. As a museum is chock-full of artworks, the participants will
also paint pictures together with their group mates.
Materials
Materials are not needed for the progressions of the session.
Through the “Future Living Museum” the participants shall be able to:
• Show and express their own perceptions of the world using their body.
• Connect deeply with the root causes of the Earth’s condition through association and
imagination.
• Connect with each other through body movement and shared imagination.
• Discover healing through the narratives made and created through the use of imagination
and connection.
culture of simple needs

The activity delves into how we can align our personal dreams and
aspirations with others and the environment. Encouraging each
one of us to dream big encourages us to be more resourceful with
our dreams and to be sensitive to the needs of our peers and our
neighbors. Tapping on the thrust of this activity will encourage
each and every one of us to dream of a much sustainable and
reliable future for all of us.
Digging Deeper
65
Pre-Session Requirement
• Ensure an enclosed and well-ventilated area with ample space for movement and sound
for the session.
• Separate the spaces between the participants’ own peripherals and the activity space to
avoid any distractions.
• Remind students not to engage in any harmful play throughout the session.
• Follow the necessary safety protocols for every activity.
Procedure
This session has a three-part progression:
Body Sculptures Paint Me A Picture Living Museum
Prior to the start of the session, conduct a light warm-up for the participants since the session
will make full use of the participant’s bodies. This is to avoid physical injuries during the
sessions. Give each group a gentle reminder that the session’s goal is not to compete but
to interact and tell stories using our bodies.
As a group, take a deep breath: collectively inhale, then exhale. Repeat at least three times.
Look at one another. If possible, try to have a moment of eye contact with all participants.
Smile.
Reminders
66
Part 1
Body Sculptures
1. Divide the entire class into two groups: Group A and Group B.
2. Within their groups, ask the participants to find a partner. Each pair needs to assign an
“artist” and the “artwork.” Ensure that each participant is comfortable with their partner
as this part may include physical touch.
3. FIRST ROUND: The “artists” and the “artworks” in GROUP A will create a museum of
sculptures. Participants in Group B will be the museum visitors.
SECOND ROUND: The “artists” and the “artworks” in GROUP B will create a museum
of sculptures. Participants in Group A will be the museum visitors.
4. The role of the “artist” is to construct the body sculpture while the “artwork” will follow the
whims of the artist. The artist needs to ensure that they are interacting with their partner
with utmost care and respect during the sculpting process. Give the artists these themes
as prompts for their artworks:

• Challenge of Society
• Image of Hope
• Vision of the Future

5. Ask the participants to conduct a museum tour after each round. During the tour, the
“artists” will present their sculptures to the museum visitors. The artists need to narrate
the story that their sculptures are portraying. This exercise will challenge the participant’s
creativity in telling a story and in providing a context for their creations.
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Part 2
Paint Me A Picture
Paint Me A Picture is similar to Body Sculptures in that participants will explore painting
images using the body. However, in this activity, they have to create their image together
with their group mates (also referred to as a “tableau.”)
Each group will “paint their picture” based on images that you will share with them. Be careful
when selecting the images that you want the participants to paint to avoid any mishaps
during the activity.
For this activity, the participants will be challenged to explore the images of natural and
human-made hazards using their collective bodies as an ensemble. (See Disaster
Preparedness: Key Terms on page 71 for reference on key definitions of hazards, disasters,
and related terms)

• FIRST SEGMENT: Divide the entire class into three groups. Assign each group a
“level of movement” — High, Middle, and Low. Ask each group to create a picture
based on their assigned level of movement. “Levels of movement” refers to the
vertical distance of the body to the floor. The higher the level is, the farther the body
is from the floor. The lower the level is, the closer the body is to the floor.
• SECOND SEGMENT: Gather the class and show them images of natural and
human-made hazards. Then, divide the class into 5 groups. Assign one natural or
human-made hazard per group. It’s up to each group on how they can creatively
construct these pictures using their bodies.
This activity follows the same principle of constructing artworks together as a group
(also referred to in theater terms as an “ensemble”).
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• THIRD SEGMENT: Gather the class. For this segment, the entire class will paint a
moment Before, During, and After a disaster strikes. They will do all the pictures as
a whole group/ensemble.
The participants will follow this progression:

• Picture 1 (During: while the hazard is causing a disaster)
• Picture 0 (Before: when the hazard is yet to arrive/happen)
• Picture 2 (After: when the hazard has left and affected communities are recovering
from the disaster)
Note: We follow this progression, straying away from the chronological sequence of
events, for the students to have a more grounded understanding of the events before
and after the hazard, by starting with the events during the hazard, they are challenged
to think about what might have worked (or not) in preparation before the hazard and
what they can proactively do after. Hazards like earthquake and volcanic eruptions are
not caused by climate change. Climate change intensifies hydrometeorological hazards
like typhoons and flooding. However, there are situations wherein multiple disasters are
bound to happen. For example, currently, we are experiencing a pandemic which is a
biological hazard. At the same time, we still experience strong typhoons just like what
happened from October to November 2020 when multiple typhoons hit our country.
Here are sample scenarios. Encourage students to imagine the different levels of intensity and
the corresponding level of preparedness.
PICTURE 1 PICTURE 0 PICTURE 2

During: Before: After:
• Rapid flooding of • Preparing for an • A strong earthquake
low-lying areas in the evacuation as advised has just occurred.
barangay by the government • Days after a volcano
• A strong intensity due to an impending erupted.
earthquake is eruption of a volcano • A strong typhoon has
happening while in • A family preparing for a just left
school very strong typhoon that
• A strong typhoon is will hit the barangay
causing strong winds, • A community is
torrential rains and preparing for days of
destroying homes torrential rains and
strong winds.
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fruitful information
Disaster Preparedness:
Key Terms
DISASTER – A serious disruption of the functioning of a community or a society involving

widespread human, material, economic or environmental losses and impacts, which exceeds
the ability of the affected community or society to cope using its own resources.
Disasters are often described as a result of the combination of: the exposure to a hazard;
the conditions of vulnerability that are present; and insufficient capacity or measures to
reduce or cope with the potential negative consequences. Disaster impacts may include
loss of life, injury, disease and other negative effects on human physical, mental and social
well-being, together with damage to property, destruction of assets, loss of services, social
and economic disruption and environmental degradation.
HAZARD – A dangerous phenomenon, substance, human activity or condition that may

cause loss of life, injury or other health impacts, property damage, loss of livelihoods and
services, social and economic disruption, or environmental damage. Such hazards arise from
a variety of geological, meteorological, hydrological, oceanic, biological, and technological
sources, sometimes acting in combination.
EXPOSURE – This refers to areas or location that may potentially be affected by hazard
where people, infrastructure, and other resources may be found.
VULNERABILITY – The characteristic of an element that influences the level to which it

may be affected by a hazard event.
RISK – This is the likelihood of severe outcomes due to hazard events occurring in exposure
areas with a high level of vulnerability.
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fruitful information
Classification of Hazards
CLASSIFICATION ORIGIN EXAMPLES

Organic or conveyed
by biological vectors,
Outbreaks of epidemic diseases, plant
including exposure
Biological hazard or animal contagion, insect or other
to pathogenic micro-
animal plagues and infestations.
organisms, toxins, and
bioactive substances
Earthquakes, volcanic activity and

emissions, landslides, surface collapse,
and mudflows
Note: Hydrometeorological factors are

Internal earth processes
important contributors to some of these
Geological hazard and related geophysical
processes. Tsunamis are difficult to
processes
categorize; although they are triggered
by undersea earthquakes and other
geological events, they are essentially
an oceanic process that is
manifested as a coastal water-related
hazard.
Tropical cyclones (typhoons and

hurricanes), thunderstorms, hailstorms,
Hydrometeorological Atmospheric, hydrological,
tornados, blizzards, coastal storm
hazard or oceanographic nature
surges, floods including flash floods,
drought, heatwaves, and cold spells
Technological or industrial
conditions, including Industrial pollution, nuclear radiation,
accidents, dangerous toxic wastes, dam failures, transport
Technological hazard
procedures, infrastructure accidents, factory explosions,
failures, or specific human fires, and chemical spills
activities
Note: Climate change intensifies hydrometeorological hazards. Recent studies suggest

that climate change may also amplify biological hazards
Source: United Nations International Strategy for Disaster Reduction (2009). Terminology
on Disaster Risk Reduction. retrieved from: https://www.unisdr.org/files/7817_
UNISDRTerminologyEnglish.pdf
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Part 3
Living Museum
Activities in the Living Museum apply the same principles from previous activities (Part 1:
Body Sculptures and Part 2: Paint Me a Picture) but with modifications or “level-ups.”
FIRST ACTIVITY: MOVING SCULPTURES

This activity is a level-up of the Body Sculptures. The main difference is that this time, the
“artworks” will move their bodies during the museum tour. Additionally, the themes of this
activity will lean towards images of healing the earth and recovering after the disasters.
1. Divide the entire class into two groups: Group A and Group B.
2. Within their groups, ask the participants to find a partner. They may stay with the same
partner or pair up with a new partner. Each pair needs to assign an “artist” and the
“artwork.” Ensure that each participant is comfortable with their partner as this part may
include physical touch.
3. FIRST ROUND: The “artists” and the “artworks” in GROUP A will create a museum of
moving sculptures. Participants in Group B will be the museum visitors.
SECOND ROUND: The “artists” and the “artworks” in GROUP B will create a museum of
moving sculptures. Participants in Group A will be the museum visitors.
4. The role of the “artist” is to construct the body sculpture while the “artwork” will follow the
whims of the artist. The artist needs to ensure that they are interacting with their partner
with utmost care and respect during the sculpting process. Give the artists these themes
as prompts for their artworks:
• Healing the Earth
• Image of Direct Action
• Constructing Our Future
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5. Ask the participants to conduct a museum tour after each round. The catch here is that
the bodies will be moving during the museum tour.
During the tour, the “artists” will present their sculptures to the museum visitors. The artists
need to narrate the story that their sculptures are portraying. This exercise will challenge the
participant’s creativity in telling a story and in providing a context for their creations.
SECOND ACTIVITY: DYNAMIC PICTURES

This activity is a level-up of Paint Me a Picture. The main difference is that this time, the
participants will have to keep in mind everything that they have learned so far such as
levels of movement (High, Middle, Low) and the different ways of showing how scenes can
progress (i.e., during, before, and after). Additionally, the images in this activity will lean
towards themes of healing the earth and recovering after disasters.
1. Divide the entire class into three groups.

2. Ask each group to paint a Dynamic Picture exploring the theme of responding to disasters,
as well as healing and recovery. Each group may depict a linear progression of scenes
(before, during, and after) or a non-linear progression of scenes (during, before, and
after). Remind them to explore different levels of movement in each tableau.
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close the session
Reflection Activity
Gather the students and form a circle. You may process the activity right after the activity or
you may give them some time to write down their thoughts in a journal first. Here are some
guide questions to help process the session:

guide questions
• How do current events and personal experience shape the
images we created?
• How do we look at these disasters? What are the perspectives
that emerged when we were constructing these images?
• How were we able to recreate these images of healing?
culture of power and wealth

The imagination of disaster through the kinesthetic images we create
shall manifest how overconsumption has been a major cause of both
man-made and natural disasters. The accumulation of excessive
wealth and power has contributed to most of the creation of disaster.
This allows us to think beyond consumption and to realign ourselves
to imagine a self-sustaining and resourceful world. Remember that
anything excess is dangerous to us, to our peers, and especially to
mother nature in general. Most of the time, less is always better.
Digging Deeper
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Ecology Systems Devise

Ecology Systems Devise demonstrates interconnectivity—of individuals, partners, groups,
and systems—through the conditions and goals that progress throughout the session. This
activity has four parts. Parts one and two are done in pairs. Part three may start with partners
and progress into threes and bigger. Part four, which serves as a culmination activity, is a
game where the entire class is involved as a way to explore how everyone is interconnected.
Materials
No materials are needed for the activity.
Through the “Ecology Systems Devise” the participants shall be able to:
• Appreciate the importance of various life forms;
• Discover the interconnectedness of all life forms; and
• Embody solidarities through the connection of physical movements and group dynamics.
Activity Safety Tip:
SARILING KATAWAN, SARILING KAKAYAHAN

You are stewards of your own safety, and your partner’s
safety. Explore movement safely.
Procedure
This session has a four-part progression:
Reflections Empathy Walk Magnets Healing Systems Game
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Reminders
Prior to the start of the session, conduct a light warm-up for the participants since the
session will make full use of the participants’ bodies. This is to avoid physical injuries during
the sessions.
As a group, take a deep breath: collectively inhale, then exhale. Repeat at least three times.
Look at one another. If possible, try to have a moment of eye contact with all participants.
Smile.
Part 1
Reflections
Reflections is a basic theater exercise on eye and body coordination. The objective is simple:
serve as a reflection of your partner.
1. Ask the participants to look for a partner. In this activity, they may choose a partner they
are comfortable working with. Ensure that the pairs have ample space to work and move
as a pair.
2. Ask the pair to face each other.
3. Ask the pair to assign Partner A and Partner B. Partner A will lead the activity first.
4. Partner A will lead by moving any part of their body, while Partner B will mirror what
Partner A is doing.
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Guide the explorations by asking the current lead to explore different levels of movement
(highs and lows), to play with large and subtle movements, and to do two or three moving
body parts at the same time. Facial expressions also count as movement.
Repeat the procedure and switch the roles. Ask Partner B to lead while Partner A will serve
as the reflection.
Part 2
Empathy Walk
Empathy Walk is done in pairs. The students will “think and feel as one” by observing,
following, imitating how their partner walks. This activity allows partners to experience how
others walk their path and feel with them.
1. Ask the participants to look for partners they have not worked closely with yet in the
previous activities. Ask the pair to assign Partner A and Partner B. Partner A will go in
front of Partner B.
2. All Partner A’s will lead the action of walking inside the room while all Partner B’s will
follow wherever their partner is walking. Remind participants to be observant, this is a
walking exercise and not a talking one.
3. Guide spiels during the walk (it is best if you say it in the order enumerated below):
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First level of spiels
• All Partner A, walk like how you usually walk. Maintain
the usual pace of how you walk.
• All Partner B, follow your partners in this walk. Make
sure you have enough distance.
• For Partner B, observe how your partner walks. Observe
the sway of arms, the pace of the walk, the way your
partner breathes in and breathes out. Figure out where
the center of your partner is while walking.
Second level of spiels

• For Partner B, without judgement, imitate how your
partner walks. Let your observations from earlier help
you with the impression you are working on.
Third level of spiels

• For Partner B, if you think you have made a good
impression imitating how your partner walks, overtake
your partner and walk like how you copied your partner
walk.
• Partner A, observe your own walk through the impression
of your partner. Acknowledge the details that are put
together by your partner in imitating how you walked.
• Partner A, if you think you observed enough, tap the
back of your partner’s shoulder. This signals your
partner to stop walking.
• Face your partner, and thank each other.
4. After the first round of walking, let the participants shake their whole body to return to a
normal state.
5. Make the students switch roles, where all Partner B’s will lead the walk.
6. Repeat the same set of spiels and follow its progression.
7. After the second round of walk, once again, let the participants shake their whole body
to return to a normal state.
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Part 3
Magnets
Magnets is a movement-based activity starting with pairs and growing as an entire group
activity where participants follow and react to a certain moving part of a fellow participant,
which they have become magnetized with. This activity challenges the mobility and dexterity
of each participant to create movement, gestures, and shapes with their bodies. As the
activity grows from a pair to a big group, we unpack the collectivity of bodies moving as one
whole organism.
LEVEL 1: PARTNERING
1. Ask the participants to choose a partner. Pairs should face each other. Ensure the pairs
have ample space to move comfortably and safely.
2. Ask the pair to assign Partner A and Partner B. Partner A will lead first.
3. Ask Partner A to raise their palm in front of Partner B’s face. Ask Partner A to slowly
moves their palm, while Partner B will move their face by following the palm of Partner
A. Partner B must keep their face just in front of Partner A’s palm. Let Partner A explore
high points and low points of movement.
4. Switch roles and repeat Step 3.

5. Then, the next progression is for both partners to lead and follow each other at the same
time. Ask Partner A and B to raise a “magnetizing palm” in front of their partner’s face.
Both Partner A and B will move their palm to direct the movement of their partner’s face
at the same time.
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LEVEL 2: PARTNERS MEETING PARTNERS
For this particular level-up, ask the partners to
repeat the last action from the previous level
(where both Partners A and B lead and follow
each other). The twist for Level 2 is by integrating
a merge with other pairs. By merging, the pairs
may conduct bigger movements to move closer
to other pairs. Ideally, there can now be four
students in one group, all conducting the Magnets
movement together.
LEVEL 3: MAGNETIC ORGANISM

1. For this last level of the Magnets, form a big circle. No partnering is needed for this last
progression.
2. Any participant may start Level 3 by going to the center of the circle. The participant will
start to move by slowly exploring levels (encourage exploring high points and low points)
in body movement and by stretching and contracting the body.
Explore levels by playing with how high the person can stand how much they can expand
the limbs or even jump. They can also explore the low points by trying how low they
can bend their knees, contract to floor level movement, etc. Contracting and stretching
directly relate to physical contractions to become smaller and stretching to expand the
body.
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3. Anyone can connect with Participant 1 in the center by choosing a body part that they
will be magnetized to. For example, Participant 2 can choose to magnetize their ear to
Participant 1’s elbow. Participant 2 will join the circle and move in sync with Participant
1’s body part which they are magnetized to.
4. Anyone can go next and connect with the two participants in the center by magnetizing
with another body part (from Participant 1 or Participant 2).
5. Participants may start to integrate themselves one after another; following and moving
in relation to the body part that they are magnetized with.
6. When everyone has already been integrated into the “magnetic organism,” ask everyone
to breathe at the same time: a synchronized inhale, followed by a long and slow exhale
in unison.
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Part 4
Healing Systems Game
Healing Systems Game is a big group activity where participants will be walking around the
space. For this activity, participants will also be referred to as “players.”
1. Ask the participants to spread themselves throughout the room. From where they are
standing, ask them to silently survey the whole space and their classmates.
2. Thinking only to themselves, ask each participant to silently choose two other participants.
They should not share this information with anyone. The rule of the game is simple:
always maintain an equal distance away from the two participants that they have chosen
once the walking begins.
3. When the participants have made their choice, ask them to start walking around the
space in any direction. While walking, they should always observe the two participants
that they have chosen, and make an effort to always maintain an equal distance from
both of them.
• If Participant A decided to follow Students B and C, here are samples of how A
would keep an equal distance from B and C. Note that you do not need to show this
diagram to the participants beforehand. Trust that they will be able to figure out how
to move in the space.
4. Ask the participants to stop walking for a moment. Choose any participant among the
group, and walk towards that participant. Declare that as you touch this participant, this
player will have to lie on the floor. This will signify that this player is now out of the game.
5. Announce that all of those who followed the player you touched, must also lie on the
floor.
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6. Ask the remaining players in the game who among them followed any of the players
who are now out of the game. The players who followed any of those who are now on
the floor should also lie down. Continue asking until everyone else is officially out of the
game, or if this chain reaction reaches an end.
7. If the chain reaction reaches an end, ask the remaining players to choose one player
who will be “revived.” The revived player will once again become part of the game. Ask
the revived player to again choose two participants that they will keep an equal distance
away from for the next round of the game (because their two previous choices are now
lying on the floor and are out of the game).
8. Continue the game by walking.
9. For the next stop, ask the remaining players to revive another player. This time, the
players who are lying on the floor who followed the newly revived student will also be
revived. Let the reviving continue until the group is healed as a whole group.
close the session

Reflection Activity
Gather the students and form a circle. You may choose to process the session right after
the last activity is finished or you may give them some time to write down their thoughts in a
journal first. Here are some guide questions to help process the session:
guide questions
• What was the biggest revelation you experienced about
yourself in the activity?
• How has the activity helped you understand the connection
you have to your classmates and to bigger collective groups?
• How are we as human beings participating in the bigger
ecosystem through our actions and behavior?
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culture of shared being
Whatever we do, however we deliberate and act on our choices in
life, all actions are bound to create multiple pathways of effects to
many forms of life. This reminds us of how important our actions and
responsibilities are to the greater collection of life. In this understanding
of our value, no matter who we are or what kind of life form we are, we
will have an inevitable causal relationship with almost each life form.
So the question is: “What actions do we train ourselves to do as human

beings who understand the interconnectedness of all life forms?”
By understanding the importance of the roles and actions we create,

we realize our contributions, and manifest ways of solidarities for a
bigger ecology. The creative expressions we nurture and live by are
tools not only for culture-specific differences but of deep connections
of the life we create for the greater collection of life.
Digging Deeper
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Palabas
Presentation Phase
Filipino Culture
Use the concept of The Filipino Concept on Development
as an anchor to strengthen your Paglikha workshop sessions
The Filipino Concept on Development

The 17 Sustainable Development Goals (SDGs) are objectives that must be achieved to
help us sustain our life here on earth. In most of our undertakings, these goals must be
consciously adapted. Theater-making as a practice also helps us develop ourselves. The
skills learned here help us to become better persons with skills necessary for survival.
Both SDGs and theater-making relate to development. To further appreciate the value of
development, we look at it in the context of our identities as Filipinos.
The ecological view of Filipinos towards the environment is always life-sustaining and
nurturing. It determines the way we regard it and the way we relate to it. We have deep
respect and reverence for our fellow human beings as well as our rich natural resources.
We are a people that are life-sustaining and nurturing in ourselves and with others, and this
extends to the environment where we co-exist.
Thus, our greatest asset in sustainable development is not the resources we are blessed
with, but rather our cultural strengths and resources. Our high regard and deep relation to
our environment set us apart from other dominant cultures. And if we desire so much to
develop as a nation, Felipe De Leon Ph.D. offer these guideposts:
1. Building on Filipino Cultural Strengths

One of our most apparent cultural strengths is our cultural identity as Filipinos, which is
a fundamental source of social empowerment and the basis of sustainable development.
Our unique totality of the world view and values, core principles and ideas, belief systems,
knowledge, skills, and practices shared by the Filipino people.1
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But our subservience to other cultures besides our own is a force to reckon with as we
have been strongly influenced due to the many years that our country was colonized.2
What is imposed upon us are the cultures of other countries. There should be a conscious
and continued effort to build on our own cultural strengths based on our own indigenous
traditions.
2. Working for the good of the nation as a whole

As Filipinos, we have to continue doing excellent work that will benefit ourselves, our family,
the local community, and our nation.3 We have to extend beyond our individualism and look
into the collective benefits we gain from working to better the country. When we seek to put
more collective efforts, we ensure a more sustainable gain that will benefit more people.
3. Developing pride in being a Filipino

The many years of being under the colonized rule of others have developed the individualistic
character that ever so often becomes the root cause of our underdevelopment. Taking pride
in being a Filipino will inspire a sense of commitment towards the nation’s betterment and
manifest excellence in the many aspects of Filipino life.4
We have proven our worth to the world as being at the forefront of the developed nations.
Many of our countrymen have been successful in foreign lands due to their excellent work
in their fields. It is high time to translate this active participation in the world towards a deep
commitment to developing our country rooted in love.
Climate Input
Use the framework of the Sustainable Development Goals as an
anchor to strengthen your Palabas workshop sessions
The Sustainable Development Goals

The Sustainable Development Goals or commonly, SDGs are targets set for achieving a
better and more sustainable future for all. It aims to end all forms of poverty, fight inequalities
and tackle climate change.
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The 17 SDGs are (1) No Poverty, (2) Zero Hunger, (3) Good Health and Well-being, (4)
Quality Education, (5) Gender Equality, (6) Clean Water and Sanitation, (7) Affordable
and Clean Energy, (8) Decent Work and Economic Growth, (9) Industry, Innovation and
Infrastructure, (10) Reducing Inequality, (11) Sustainable Cities and Communities, (12)
Responsible Consumption and Production, (13) Climate Action, (14) Life Below Water, (15)
Life On Land, (16) Peace, Justice, and Strong Institutions, (17) Partnerships for the Goals.
(United Nations, n.d.)
Each goal has set several targets to be achieved by 2030. These targets also inform
the indicators from which the goal’s progress can be assessed. In light of the COVID-19
Pandemic, each goal was also placed under a framework on a more efficient COVID
response with indicators and targets meant to adapt to the Pandemic’s challenges.
In response to the environmental problems, including Climate Change, Goal (13) Climate
Action is more apparent. This serves as a force to motivate other goals to be achieved.
Climate Action will ensure that there is enough supply of resources in the environment to
sustain life. Goals (6) Clean Water and Sanitation, (7) Affordable and Clean Energy, (11)
Sustainable Cities and Communities, (12) Responsible Consumption and Production, (14)
Life Below Water, and (15) Life On Land make sure that the basic needs for life support
such air, water, food and shelter will be enough to support life of all living things. Individually,
these goals present substantial actions towards environmental conservation and protection
through identified indicators to measure progress.
Additional resources:
United Nations, Department of Economic and Social Affairs - https://sdgs.un.org/goals
Transforming our world: The 2030 Agenda for Sustainable Development - https://sdgs.
un.org/2030agenda
UN Sustainable Development Goals (SDGs): Why they are important - https://youtu.be/
qAIolKgDPrA
TED Talk: How We Can Make the World a Better Place by 2030 - https://youtu.be/
o08ykAqLOxk
The Sustainable Development Goals - Action Towards 2030 - https://youtu.be/9-xdy1Jr2eg
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Read and learn the Basics of Theater Production
Facilitate the Hands-on Activities to help participants bring
their ideas to life through props, music, script, etc
Basics of Theater Production

Now that our stories and narrative devices are ready, the teacher-facilitator takes on the
role of stage director for a live performance. A director’s job is to guide the whole team in its
journey of creation in time for presentation in front of a live audience. Performance being a
composition of space and time, it is best to know about the different tools you may use for
creating a creative and meaningful experience for your students and audiences.
Types of Staging
Proscenium, Thrust, Arena, Site-responsive
Proscenium Stage
is the most commonly
used staging where the
audiences are only on
one side in front of the
stage.
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Thrust Stage
has audiences on 3 sides like that of a ramp used in fashion shows or beauty contests.
Arena Stage
has audiences in all 4 corners or around the stage.
Site-specific/ Site-responsive Performances

happen in existing places determined by the director for performance and often with
no set stage. Examples are performances in streets, inside a church balcony, or at the
seashore with the sunset serving as the backdrop.

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Designing D.I.Y. Performances
Sustainable Production Design, Found Music & Sound Design, D.I.Y. Light Design
Sustainable Production Design Elements of D.I.Y. Performance
Sustainable design
applies the principle of reusing, repurposing, recycling, and upcycling in the use of materials.
Design in performance has three goals:

1. to communicate the 5W’s (who, where, when, what, why) and 1H (how) of a play
2. to direct the attention of audiences and help them in understanding the flow of action
and story
3. to support the story by providing images of inner and outer realities of the characters,
presenting symbols for deeper meaning-making and propelling emotions and feelings
among audiences.
Costumes
Costumes are wearable objects that (1) tell us about the profile and inner and outer reality
of the character, (2) support the setting of the play, and (3) indicate the setting and passage
of time. Costume pieces shall be comfortable to wear, can be easily worn for quick costume
changes, have details big enough to be seen by audiences as necessary.
Character Sketch:
Slambook Exercise
Create a series of questions on paper
like that of a slam book (autograph book
in the 90’s). Include basic information like
name, age, likes, dislikes, looks, habits,
etc. Let learners answer and fill in details
“in character.”
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Character Press Preview
Create a series of questions on paper

like that of a slam book (autograph book
in the 90’s). Include basic information like
name, age, likes, dislikes, looks, habits,
etc. Let learners answer and fill in details
“in character.”
Wearable Installation
Think of intangible or abstract ideas or

concepts (e.g. freedom, vagueness) and/
or feeling or emotion (gloom, joy). Assign
participants in various rooms in the school
or in their house (kitchen, attic, living
room) where they will use objects found
in these spaces to create a wearable
installation signifying, representing and/
or materializing their chosen concepts,
feelings and/or ideas.
Set and Props

The timescape (relating to the time element) and landscape of the world of the performance
are set by the design of the background, props, and set pieces. This sets up the world of the
play or production. Designs unify the elements of a production, both visually and sonically.
The production designer can explore many possibilities -- design themes for the set and
props can be realistic, symbolic (or abstracted). It can be inspired by various art movements
and expressions around the world.
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Design is both functional and decorative. It aims to communicate a unified visual language
for the play, as it provides the daily tools and objects true to the context of the theater
production.
Elements of Elements of Set & Props Design
Line is the basic building block of design. It connects point A to point

B. A line can be varied by its direction or its quality.
Shapes are formed when lines create an enclosed space. Certain

edged shapes, like squares, can evoke rigidness while curved
shapes can show fluidity.
Forms are objects that occupy space in a 3-dimensional nature.

These are created by connecting shapes together. They can be
varied in terms of sizes and scale with respect to one another.
Space is used to create illusions of depth. It may be 2-dimensional,

3 dimensional, negative (empty), or positive (occupied). You can
also play with the nearness or farness of objects within the space.
Texture describes the surface quality of an object. It can vary from

rough to smooth, hard to soft.
Color is the quality of light that gives pigmentation to objects. Color

can be changed in terms of hue (e.g. red,green, blue), value (shades
of each color), and intensity (the brightness or darkness of the color).
Movement describes how the objects guide the viewer’s eye. A

design’s movement may be dynamic, static, erratic, or consistent.
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From Page to Mini Stage
• Choose a scene or narrative device from earlier exercises (see part 1)
that excites you most.
• Draw a sketch of your set design for your chosen scene.
• Write down the meaning of the images in your sketch and the feeling
you wish it evokes from the audience.
• Using recycled objects, create a mock-up or 3D version of your design.
It doesn’t have to be the right scale.
NOTE: For advanced sessions, you may create a “maquette” or a scale

model of your design. This will need a lot of measurements. You may refer
to online videos on how to make scale models.
Found Music and Sound Design Designing D.I.Y. Performance

Sound and music in performance paint landscapes unseen but heard and felt by the
audience. Tones, mood, atmosphere, and even the time and space of the production are
unified through the musical direction and overall sound design.
Sound and music accompany and underscore the immediate or urgent feelings and deep
emotions the production wants to convey to its audience. It also amplifies in the actors the
overall tone of a scene, and at large, the entire production.
Sound and music can be produced live or recorded through musical instruments, edited
sound, and music clips, and found objects.
Silence is also an element of sound and music.
In understanding how to make use of found objects to create sound and music, we must also
recognize the natural sounds produced by the actors and the physical space itself. Actors
may work with their voices by adjusting their tone, pitch, volume, speed, accents, cadence,
rhythm, and stress. They may also choose to use their body parts to create sounds.
It is best that, as a facilitator, we also encourage everyone to think creative and resourceful
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ways on how to showcase the element of sound, even in the lack of audio equipment. As
this module shares the spirit of creativity in making, we should also extend this learning to
the production and management sides of the performance, as a good start of this advocacy
within our own practice.
Jamming with Objects

1. Assign students to bring materials that produce different sound qualities.
They may be tin cans, plastic containers, old toys with contraptions,
bicycle bells/ horns, utensils, bottle caps, coins, and even cleaning
materials like a broom, and a brush.
2. Gather the materials and the students, then designate a found object
orchestra instrument for each student.
3. Conduct a found object musical jam by pointing at objects to make
sounds. You as the conductor may choose to control the volume and
pace of the sounds the students create by guiding them through a set
of signals you will agree on.
After the jamming, you may ask students to gather in a circle and share their
thoughts about sounds, music, noises, and silences. Spark excitement and
curiosity by asking for covers and versions of their favorite songs played with
DIY musical objects. Encourage them to work on new songs as well by using
lyrics you may have generated in earlier sessions.
D.I.Y. Lighting Design Designing D.I.Y. Performance

The purpose of light design is to illuminate action, direct the focus of the audience’s attention,
signal the time and space, and magnify meaning and emotions. Color, intensity, and light
quality help in designing the lights for the production. In conventional theater productions, a
lighting designer specializes in all the elements of lighting like setting up the light sources in
strategic locations, adding colors, and most especially programming which light sources will
illuminate to design a certain light cue.
In this DIY Lighting design set up, portable light sources, industrial lights, and make-shift
lighting fixtures can work hand in hand for the production’s lightscape.
Safety is the number one priority when dealing with design. In creating our make-shift lighting
fixtures, you may consult with electricians in choosing the wattage of bulbs, type and gauge
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number of electrical cords, and if faders will be incorporated for the switches. Faders will
help control the intensity of the lighting fixture.
Found light sources may work best as well. Flashlights are both portable and easy to use.
Industrial lights can be controlled for general lighting cues and blackouts.
These are the elements of a DIY Performance! We hope you may always go back to the
learnings on Climate, as we also encourage participants to look at new ways to begin staging
productions. Through this, we introduce two creative practices -- the creative process of
making theater, and the strong connection of our artistic expression with our duty to protect
our environment from more waste-production. Through this, may we also introduce a culture
of creativity that is committed to applying our learnings towards climate action.
feeling
The ecological view of Filipinos towards the environment is always life-sustaining and
nurturing. It determines the way we regard it and the way we relate to it. We have
deep respect and reverence for our fellow human beings as well as our rich natural
resources. We are a people that are life-sustaining and nurturing in ourselves and
with others, and this extends to the environment where we co-exist. (see Section 4
Feeling: Affective Dimension )
As we reflect on our unique Filipino values, what if we express the value of collaboration
in theater arts in ways that shall highlight the spirit of Bayanihan? Will theater making
achieve a tall order to practice our sense of collective solidarity on sustainable ways
for a shared progress and development?
What if we take full pride in the generosity of the Filipinos as amplified by our Kapwa
(yourself in others) culture? The process of theater making would be a direct learning
experience to understand that humans can extend the culture of Kapwa not only to
human beings but to other life forms as well.
In this phase, we unravel how the Filipino worldview fortifies the values of Theater.
Theater is a space for development, shared and safe in every respect.
Digging Deeper
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thinking
It’s time to encourage looking at theatrical production practices as sustainable and
responsive to the calls of Sustainable Development Goals (SDGs). In extending
our learning from the Filipino values and the basics of theater production, we must
champion important SDGs particularly the following: SDG 3 Good Health and
Wellbeing, SDG 4 Quality Education, SDG 5 Gender Equality, SDG 7 Affordable and
Clean Energy, SDG 10 Reduced Inequalities, and SDG 12 Responsible Consumption
and Production.
SDGs 3, 5, and 10 form a synergy of values on health starting with the self and
extending to how we create healthy spaces of inclusivity. In theater making, great
relationships are as important as the best managerial systems or powerful plays. It
ascertains a healthy quality of conducive learning and creating environment for every
artist/participant. Theater is a witness to a collective spirit of solidarity, Bayanihan.
SGD 4 focuses on the quality of education, and how theater learning is a powerful
tool to share the values on climate action. It opens the many possibilities and ways
for everyone to learn, most importantly about the practices we should be doing in
both theater making and climate action,
SGDs 7 and 12 forge a harmonious link as to how Filipinos may have access to
affordable and clean energy when we are responsible as well with our systems
on consumption and production. In theater, we learn to create beyond creating
characters. We craft props, set pieces, even stitch up costumes and apply basic
make-up. It is in a conscious undertaking to know how we can craft production things
without harming the environment (e.g. the use of styrofoam in making set or props).
Digging Deeper
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Devising Participatory Performance
Participatory performance makes audiences part of the story. The performers give interactive
prompts, ask direct questions, and even encourage audiences to do an action, shout a
line, or provide some sounds or lights. These interactive prompts can be in the form of
icebreakers, games, collective singing and dancing, and many more.
Tips
best practices
when asking audiences to participate:
• Ensure the physical and emotional safety of audiences
before and during a participatory activity.
• Be encouraging and apply the “code of conduct” we learned
in part one when we “facilitate audiences.”
• Establish gestures to show audiences when to “Go!” and
when to “Stop.”
• Hand-holding. Have some performers guide the audiences
in doing the action asked of them. No forcing of participants.
Have Plan B and Plan C just in case no one participates.
• Share energy! The audiences absorb your high energy and
enthusiasm.
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D.I.Y. Puppetry Performance
Puppetry is the art of giving life to an inanimate object or puppet. Puppeteers perform by
passing their energy, or transferring their souls, so the puppets become alive, interactive
and mobile.
A puppet can be any inanimate object, but most traditions and cultures have created figures
that resemble characters from stories and plays. These figures often have loose joints in any
body part designated and designed to move. In designing puppets to have those moving
parts, the art of puppetry becomes even more dynamic.
The figures crafted to become puppets range from being 2-dimensional to 3-dimensional
regardless of scale. Some puppets are small and light, requiring at least one puppeteer
to manipulate. Others are half the size of humans and require one to three puppeteers
like the Bunraku puppets from Japan. Still, others are larger than humans or serve as an
enlargement of a certain body part of a puppeteer.
In designing and crafting puppets, we may choose to use wood, plastic, metal, and paper. In
this light, we can actually create our own puppets with any recyclable materials. In choosing
materials to use, the shape and nature of the recycled objects can help in determining how
we can transform them from potential junk to a piece of art. Papers, for example, can be
crumpled, or be mixed with diluted glue to become a layer of covering. Metals are naturally
strong and can act as frames for bodies. Wood can be carved on, similar to how woodcrafts
are made. Plastic in many forms can be used in many ways.
There are a number of ways how we can create DIY puppetry productions.
D.I.Y. Puppetry
Method 1: Shadow Puppetry
Shadow Puppetry plays with lights and shadows. We need a light source, a
shadow puppet, and a projection surface.

1. Gather materials for the making activity. Students need cardboard,
scissors, cutter, pens, masking tape, skewers or bamboo sticks, and a
cutting mat (or any hard cardboard to protect the surface the students
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are cutting on).
2. In drawing the puppets remind the students of thinking of stencils -- we
nee a positive part (the solid and opaque part), and the negative part
(the holes you cut out). Details/features of the characters being crafted
can be drawn like a stencil.
3. Remind the students to make sure they draw the moving part separate
from the main body of the puppet.
4. In cutting, start with the details first before extracting the overall
silhouette of the shadow puppet.
5. Connect the moving parts, then the sticks for manipulation.
6. Grab your light source and project it on a blank wall, or a white cloth.
Have your shadow puppet block the light and see how it is projected
on a surface.
7. You may now manipulate your shadow puppets and light sources.
Playing is part of learning, so invite your students to explore many
possibilities in performing shadowplay.
For additional colors, textures, and patterns, you may use translucent
materials of your choosing. This can add features and moments of wonder
to the shadow images you are all projecting.
Remember to turn off the lights to appreciate shadowplay at its best!
D.I.Y. Puppetry
Method 2: Found Objects
This is best performed in large-scale spaces like school quadrangles,

auditoriums, basketball courts, or even public spaces like streets, parks,
and plazas.
These are more evident to feature the diverse recycled materials that
students can use to craft large-scale puppets.
Students can work with plastic containers and boxes for volume, but still
maintain a reasonable weight to manipulate the giant puppets.
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These Giant Puppets can be choreographed for a large-scale performance.
NOTE: Another method is scaling this down to a miniature level.
Audio Drama
Audio Drama is a performance form that can be utilized in telling a story using sound
recorders in your phone, laptop, or desktop and can be presented on various platforms
such as radio, podcast channels, and other sound-streaming applications. In the absence
of a visual guide in this sound medium, the voice has to be “illustrative” and that the story
narration is “descriptive.” You will only need a recorder, sound/ audio editing software on
your devices, and a good story to tell.
Creating Audio Drama: Sound Elements

Voice:
To create various characters, the voice actors can change and vary the following with their
voice depending on the age, gender, and intention of the character in a scene:
• Pitch (Highness and Lowness of Sound)
• Volume (Loudness and Softness)
• Speed (Fastness and Slowness)
• Stress (For emphasis on words)
Sound Sense:
To indicate emotional state and to make heard the internal reality of the characters in the
audio story, we make use of additional “sound sense” which are sounds we create which
we associate to a specific feeling. Example: “Hmmm…” sound might mean someone is still
thinking. “Aahhhhhhhh!” implies that someone gets the point etc.
Soundscapes:
As we solely rely on our sense of hearing, we need to help the listener imagine the setting
and the action of the story. Sound landscapes or soundscapes can be generated using the
following:
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— Foley sound effects are recordings of sound from found objects which aim to reproduce
the effects needed in a scene. Examples: Metal sheets also known as bubong may be used
to create the sound of thunder. Munggo beans shaken in a jar can recreate the sound of
rain, etc.
— Digital sound effects are created using synthesizers, applications, and software where
the sound is manipulated to support the pace, the feel, and the progress of the story..
Audio Drama on Contemporary

Myths & Fairy Tales
Create a simple script with a beginning, middle, and end (or parts A, B, and
C). This time, instead of setting it for the stage, deliberately design it for audio
listeners.
1. Choose one or two themes among the following:
• Nature knows best
• All forms of life are important
• Everything is connected to everything else
• Everything changes
• Everything must go somewhere
• Ours is a finite earth
• Nature is beautiful, and we are its stewards
The participants need to create a script meant for Audio Drama. Encourage
them to have a diverse number of characters to utilize the class with their vocal
prowess. Divide the script into three main parts -- the beginning, middle, and
end.
2. Read the working script together in a big circle. You may shuffle
participants to different roles or allow them to explore their vocal range
for the characters they may portray. You may ask questions like:
• Does the character have a loud or a soft voice? How loud/ soft is it
compared to other characters?
• Does the character speak fast or slow? How fast/slow is it compared to
other characters?
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• Does the character have a low, medium, or high pitch?
• What makes the character’s voice unique?
3. Assign character roles, and designate production roles based also on

the students’ capacities and resources (stage manager, editor of the
recording, sound effects designers, etc.)
4. A. Recording can be done in parts. Be sure to make the script and the
recording list details available for the editor(s) of the main file.
B. If you opt to do it live with an audience, think of the set up how an

audience can appreciate the sounds and voice acting better. Should the
performers be hidden from the audience? If they are seen, are the lines
memorized, or can they have scripts? This will depend on how the class
wanted to envision and share it as well.
Be creative in exploring ways to present the Audio Drama. Remember that aside
from canned music available for download online, you may also encourage
students to record on their own, and be creative in the choice of music, musical
instruments, and sound effects makers.
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Pagpapalalim
Processing Phase
Filipino Culture
Use The Social Universe of the Filipino as an anchor to
strengthen your Pagpapalalim workshop sessions
The Social Universe of the Filipino

We have come to know that the environment is in a dire situation and actions must be done
to sustain life for future generations. As much as we need to focus on the problem, we have
to look at this situation in its entirety as well. Thus we need to learn how to release ourselves
from being too attached to the issues, problems, and challenges we have come to know
and reflect on what we need to do. Afterwhich, we have to redirect these energies toward
actions that create impacts- things that will create ripples of change. One good starting point
is to appreciate our position in the greater scheme of things by looking more deeply at our
identity as Filipinos and how we relate to our social universe.5
The Filipino transcends the concomitant attribute of being governed by natural laws. His/her
view is beyond the mechanical universe that many cultures ascribe to. The Filipino believes
that his social being is in harmony with and related to the other elements surrounding him/
her.6
Therefore, it is for this reason that the Filipino becomes one with the sacred being and unites
with the whole of existence. Ask any Filipino about what conditions his/her mind to be at
peace, and he/she will identify himself/herself with being one with his/her loved ones and
with his/her environment— may be it in a mountain, farm, fields or the sea. An element as
simple as a plant or a flower evokes a certain emotion regarding the Filipino to appreciate
this element of his/her environment.
The vital energy of the Filipino springs from the harmony in his/her social order. He/she is
highly relational and seeks to create a deep relationship with others. There is heart-to-heart
connectivity that is strong in the Filipino.
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Thus, in his/her actions, the recognition of the presence of the other is primary. The Filipino
term pakikiramdam makes the Filipino heart-oriented. In his/her actions, this connection
must be nurtured and maintained. Pakikiramdam is also seen in the Filipino expression in
his/her art; the kundimans, the soft strokes of lines, and the dainty colors used in paintings,
such as the famous Filipino artist Amorsolo speak highly of the soft flowing movements of
connections of one Filipino toward another.7
Significantly, the recognition of this connection to the Filipino’s harmonious existence with
his/her environment and with others informs what and how his /her actions are in itself
creative and culturally grounded.
Climate Input
Use the concepts from Taking Action on Climate Emergency
as an anchor to strengthen your Pagpapalalim workshop sessions
Taking Action on Climate Emergency

Our world is changing, and it is changing drastically. Our environment is threatened by the
destructive plundering of its resources by human beings in its pursuit to make life more
pleasurable and comfortable—all at the expense of the environment.
The changing weather patterns caused by global warming is imminent and felt almost every
day by everyone. Organisms die; some are wiped out and driven to extinction, creating an
imbalance in the ecosystem. Diseases are prevalent; natural hazards have become deadlier
and have cost millions of lives around the globe. The world is also covered in trash, making
it hard for the earth to recover as fast as we pillage its resources.8Greta Thunberg, in 2018,
spoke strongly on this issue. At age 15, she recognized that her future is being stolen by
those who disregard the impact of rapid industrialization and development in the name of
economic development. She felt that the destruction of the environment is harming her and
all the children like her. She started the School Strike for Climate movement, where she
deliberately misses school on Fridays to go on strike to draw attention to climate change.
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This is such a strong and bold move for a young person like Greta. She recognizes that
many more lives will be lost, and there will be more destructive disasters coming her way
if she does not do something about it. She gained the world’s attention and continues her
advocacy with powerful messages directed towards world leaders, saying that they are not
doing enough.
In the Philippines, the Youth for Climate Hope in Negros Occidental staged the “Youth Strike
for Negros.” This group of young people was fighting against the use of coal as a source of
power for the province. This prompted the Provincial Governor to declare Negros Occidental
coal free as well as create a Provincial Renewable Energy Council to facilitate development
of renewable energy programs.9
The world is indeed in a climate emergency. The effects are felt, but not everyone is as
sensitive as Greta nor government is as responsive to the call of the Youth for Climate Hope
as the Provincial Government of Negros Occidental. Imagine a frog in boiling water. It does
not realize the peril until it becomes too late for it to jump out of the unbearable heat. We
are like the frogs in that boiling water. Unless we become sensitive enough to recognize the
peril we are in, we might be disregarding the fact that the destructive things we do to the
environment are already costing us our lives—until it is too late.
We need to take action now, while something can still be done and while there is still time.
Power Up!
Practice what you preach. Throughout the rehearsals, encourage participants

to develop eco-friendly habits. The following may be implemented to foster
these behaviours:
• Bring your own water container and designate water refilling stations.
• Serve the food in reusable containers instead of disposables.
• Provide a balanced diet highlighting vegetables and fruits.
• Turn off and unplug lights and other equipment when not in use and at
the end of the rehearsal.
• Avoid using new materials for the props and stage design.
• If needed, use biodegradable materials and dispose of it properly.
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Choose a Processing Activity to help synthesize the
whole journey in your Pagpapalalim workshops
Creative Paper Graffiti10
Description of the Activity

Each poster will have specific prompts to help process and evaluate their performance
experience; each poster will serve as a creative graffiti wall where they can write texts,
messages, doodle, paint and draw or even compose collage using any found materials.
Materials
• Pen or Marker (assorted colors)
• Found objects and materials they can use to create a collage
Purpose of the Activity

Creative Paper Graffiti is an activity that aims to:
• Evaluate and process the performance experience of the participants.
• Creatively express themselves in the evaluation through found materials.
Procedure
Part 1:
Using images and words, create a collage or graffiti responding to the following questions.
• How are you feeling after the performance?
• What are the “unforgettable” (‘di malilimutan) moments for you in the creation process
from rehearsals to performance?
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Part 2:
Using images and words, create a collage or graffiti responding to the following questions.
• What are the challenges and learnings in the production?
• What are the “meaningful” (makabuluhan) moments for you during:
- Rehearsals
- Performance
- Socialising with fellow participants and audiences
Part 3:
Using images and words, create a collage or graffiti responding to the following question:
• What are your (1) hopes or wishes, (2) questions, and (3) suggestions for future staging.
*** A version of a simple evaluation form is in the appendix
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Collective Dream Exhibition
Description of the Activity

Create a “Paper Graffiti Exhibition” and all release, reflect and redirect graffiti shall be
collated and posted on the wall with the same prompts on the same wall.
Materials
• Pen or Marker (With Various Colors)
• Found objects and materials they can use to create a collage
• Paper Graffitis
Purpose of the Activity

Collective Dream Exhibition is an activity that aims to:
• Evaluate and process the performance experience of the participants.
• Creatively express themselves in the evaluation through found materials.
• Create a collective dream exhibit.
• Release, Reflect, & Redirect on their experiences from the performance experience
Procedure
Part 1: Gallery Walk
1. Tell the participants that you will go to a silent gallery.
2. For 20 minutes, allow the participants to go around the collective dream exhibition. They
may add star stickers drawn on post-its or draw a star to any graffiti they strongly relate
and resonate with.
Part 2: Listening Circles

1. After the Gallery Walk, depending on the number of students, form one big listening
circle or from small groups where they start sharing
about what they put in their “artworks.”
2. Go through the process of discussing their
responses based on “release, reflect and redirect”
prompts.
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Notes
1. F. M. De Leon, Celebrating the Creative Living Presence: A Culture of
Healing, The Asian Social Institute, 2017, 10.
3. De Leon, 10.
4. De Leon, 11.
5. A. P. Galang, D. P. T. Reyes, E. L. Dela Cruz, M. T. M. Oliva, L. C.

Pinpin, S. R. Mesina, and M. R. G. Wood, Seven Lenses or environmental principles
as if Adults mattered, The Bookmark, Inc. 2003,185-186.
6. Galang, et al., Seven Lenses, 188.
7. Galang, et al., 188.
8. Galang, et al., 188.
9. M. A. Mayor. The youth behind coal-free Negros Occidental. Rappler,

2019. https://www.rappler.com/moveph/youth-behind-coal-free-negros-occidental.
10. Cultural Center of the Philippines, Sining Galing, Cultural Center of the
Philippines: Arts Education Department, Manila, 2012, 79-81.
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Contents
Testimonials
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In our new gained understanding of the relationship of our culture-making and climate-
caring, we are faced with the challenge to pass it on not only to those who hold the future in
their hands, the youth; but to also pass it to more teachers and facilitators who can join our
community of advocates. This is indeed a commitment we can forge as artists and social
beings for the development of our culture and climate.
This toolkit was designed to equip us with both the tools for teaching theater and dig deeper
into its connection with indigenous wisdom. Through this gained wisdom, we may continue
to create and post questions that shall generate a healthy discourse on why we create, why
we perform, and for whom do we create this performance.
In the next pages, selected students and teachers who participated in the 2019 Climate
Action Advocacy Show describe their key take-aways from the process. Beyond the textbook
learning, there is an opportunity to explore and create more possibilities. This is our humble
wish in passing on this Creative Sourcebook -- that more people may be inspired to add
more activities and and create more opportunities to learn in which our collective wisdom
expands.
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Testimonials from students
One of the most challenging experience for me was brainstorming for my monologue.
Anger is the emotion I want to portray because it’s what I think the Earth is feeling. By
resonating with the emotions of the Earth, I shifted my perspective and realize that my
actions affect the environment. Also, I’m part of the solution for climate action. Even
though I only influence my family and some friends, it still matters for our movement.
- Faith Emerald P. Alvaro of Malabon National High School
The most memorable moments for me are all the bondings we had. But now, during
this pandemic, I already missed all the connections with my groupmates. Actually,
not all students are given this kind of opportunity to perform at the Cultural Center of
the Philippines (CCP). I remember our last show as if we didn’t want to do it because
after that the next day we will go home and it will take a long time before we meet
again. So for me all the events during the practice days and especially our show
were memorable.
- Erwin N. Malabag of Malabon National High School
Ang naging challenge ko dito ay yung pagawa ng kanta at kung paano ako kumilos
sa labas. Kasi dati kapag kakain ako ng titserya o iinom ng nakaplastic, tamang
tapon lang ako kahit saan pag walang tao. Mula nung napasama ako dito, nalaman
ko halos lahat na napakahalaga ng lahat ng bagay sa mundo. Akala kasi natin na
walang epekto yung pagtapon natin, hindi natin alam tayo din ang maaapektuhan ng
ginagawa natin. Bumase ako sa naranasan at nakikita ko sa paligid ko, hanggang
sa nakabuo kami ng kanta, na magiging palaisipan sa lahat, at sa pamamagitan
nun naibabahagi namin ang hinaing naming mga kabataan, dahil kasama kami
dito sa lipunan na ating ginagalawan. KALIKASAN ATING PAG INGATAN AT
PAHALAGAHAN, ‘PAGKAT YAN LANG ANG ATING NATITIRANG KAYAMANAN.
- Jiereyco Basilio of Kaunlaran High School
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I hope my fellow learners will not hesitate to use performing arts for climate change
education and action. I’m sure that they will enjoy the process and enrich knowledge
on climate change. At the same time, we get to help in saving our world. Don’t doubt
yourself, instead embrace and use your talent and skills. I’m sure that each one of
us wants to save our earth. So don’t be scared to speak out your thoughts, let them
hear your voice and let’s be united to protect our world.
- Laralyn Batica of Kaunlaran High School (at the time of the show)
Ang pinaka hindi ko makalilimutang karanasan ay noong matapos ang show ay agad
kong nakita ang aking mga magulang na naghihintay sa akin upang ako’y yakapin
at batiin sa harap ng aking mga kasamang estudyante at mga guro. Isa iyon sa hindi
ko malilimutang karanasan dahil nakita ko ang mga ngiti mula sa kanilang mga labi
na nagpapakita na proud sila sa nagawa namin.
- Danielle Padilla of Kaunlaran High School (at the time of the show)
The show improved my performing skills and helped me realize my role in climate
action. Also, we gain important skills like time management, discipline, and relating
with people. Aside from that, I really value the relationships I had with everyone.
Although we’re from different schools, my teammates became my friends.
- Cheska Zulueta of Rizal High School
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Testimonials from Teachers
Performing arts represent a process of opening imaginative spaces where a

performer can move freely. Using approaches that engaged learners in performing
arts, the show transformed learners as it supported critical thinking, emotions and
climate change awareness, new perspective, and A SENSE OF EMPOWERMENT.
- Ms. Jecylin Santos of Malabon National High School
Teaching climate change is not only a concern of Science teachers. All teachers
regardless of the subjects we teach can help educate learners to address climate
change problems that concern us all. If everybody partakes in even small contribution,
this can yield an incredible progress that should start in families, schools and local
communities.
- Mr. Laurence Salamanca of Kaunlaran High School
The Climate Change Advocacy Show helped the students understand climate
change better by using the Theater Arts Performance. The project had a big impact
to the students in terms of advocating for climate action and improving their skills.
- Mr. Dennis Papa of Kaunlaran High School
114
Sample of the show can be found on Facebook at
https://www.facebook.com/watch/live/?v=1020987
171713724&ref=watch_permalink
For inquiries, they can reach out to DRRMS through

drrmo+ccam@deped.gov.ph
115
Annex
116
DIGGING DEEPER ON CLIMATE CHANGE
From the Climate Change Commission and the Office of Deputy Speaker Legarda
Climate Change and its Impacts
Climate change is the long-term change1 in climate (i.e. temperature, rainfall, extreme weather,
etc.). Scientific studies indicate that most global warming in recent decades is due to the great
concentration of greenhouse gases (GHG) in the atmosphere, which are released mainly as
a result of human activities.2
Climate change has resulted in rising sea levels and extreme weather events such as super
typhoons, more heavy rains, more intense heat and heat waves, and prolonged severe
droughts, and consequently enormous losses in lives, livelihoods, properties, and the
environment. Vulnerable countries, like the Philippines, bear the brunt of the impact of climate
change.
1
Long term is ten years or greater. The year to year change is called climate variability.
2
Intergovernmental Panel on Climate Change. 2014. AR5 Synthesis Report: Climate Change 2014. IPCC. https://
www.ipcc.ch/report/ar5/
117
Excerpt from the Climate Change Executive Brief prepared by
the Climate Change Commission in 2018
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119
120
121
122
123
124
125
126
Go Bag
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128
List of Competencies where teachers can integrate the
KALIKHASAN based on the Most Essential Learning
Competencies (MELCS) per DepEd Order 12, s. 2020
Edukasyon sa Pagpapakatao (ESP)
Grade Level: 7 Quarter: First

Learning Competencies:
• Natutukoy ang kanyang mga talento at kakayahan (Week 3, EsP7PS-Ic-2.1)

• Napatutunayan na ang pagtuklas at pagpapaunlad ng mga angking talento at
kakayahan ay mahalaga sapagkat ang mga ito ay mga kaloob na kung pauunlarin
ay makahuhubog ng sarili tungo sa pagkakaroon ng tiwala sa sarili, paglampas sa
mga kahinaan, pagtupad ng mga tungkulin, at paglilingkod sa pamayanan (Week 4,
EsP7PS-Id-2.3)
• Naisasagawa ang mga gawaing angkop sa pagpapaunlad ng sariling mga talento at
kakayahan (Week 4, EsP7PS-Id-2.4)

• Natataya ang adbokasiya ng iba’t ibang lipunang sibil batay sa kontribusyon

ngmga ito sa katarungang panlipunan, pang-ekonomiyang pag-unlad (economic
viability), pakikilahok ng mamamayan, pangangalaga ng kapaligiran, kapayapaan,
pagkakapantay ng kababaihan at kalalakihan (gender equality) at ispiritwalidad
(mga pagpapahalagang kailangan sa isang lipunan sustainable) (Week 8, EsP9PL-
Ih- 4.4)
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• Natutukoy ang mga isyu tungkol sa paggamit ng kapangyarihan at pangangalaga sa

kalikasan (Week 7, EsP10PB-IIIg-12.1)
• Nasusuri ang mga isyu tungkol sa paggamit ng kapangyarihan at pangangalaga sa
kalikasan (Week 7, EsP10PB-IIIg-12.2)
• Napangangatwiranan na:
a. Maisusulong ang kaunlaran at kabutihang panlahat kung ang lahat ng tao ay
may paninindigan sa tamang paggamit ng kapangyarihan at pangangalaga sa
kalikasan.
b. Lahat tayo ay mamamayan ng iisang mundo, dahil nabubuhay tayo sa iisang
kalikasan (Mother Nature) Inutusan tayo ng Diyos na alagaan ang kalikasan
(stewards) at hindi maging tagapagdomina para sa susunod na henerasyon.
(Week 8, EsP10PB-IIIh-12.3)
• Nakabubuo ng mapaninindigang posisyon sa isang isyu tungkol sa paggamit ng
kapangyarihan at pangangalaga sa kalikasan ayon sa moral na batayan (Week 8,
EsP10PB-IIIh- 12.4)
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Filipino
Grade Level: 7 Quarter: Fourth

• Nasusuri ang mga pangyayari sa akda na nagpapakita ng mga suliraning panlipunan

na dapat mabigyang solusyon (F7PB -IVc - d -21)
• Nailalahad ang sariling saloobin at damdamin sa napanood na bahagi ng telenobela
o serye na may pagkakatulad sa akdang tinalakay (F7PD-IVc-d-18)
• Naiuugnay sa sariling karanasan ang mga karanasang nabanggit sa binasa (F7PB-
IVc-d-22)
• Nasusuri ang damdaming namamayani sa mga tauhan sa pinanood na dulang
pantelebisyon/pampelikula (F7PD-IVc-d-19)
• Nagagamit ang dating kaalaman at karanasan sa pag -unawa at pagpapakahulugan
sa mga kaisipan sa akda (F7PS-IVc-d-21)
• Nagagamit ang angkop na mga salita at simbolo sa pagsulat ng iskrip (F7PT-
IVc-d-23)
• Nasusuri ang mga katangian at papel na ginampanan ng pangunahing tauhan at
mga pantulong na tauhan (F7PB-IVg-h-23)
• Nagagamit ang mga salita at pangungusap nang may kaisahan at pagkakaugnay-
ugnay sa mabubuong iskrip (F7WG-IVj-23)

• Nakabubuo ng paghuhusga sa karakterisasyon ng mga tauhan sa kasiningan ng

akda (F9PN-Ig-h-43)
• Naipaliliwanag ang kahulugan ng salita habang nababago ang estruktura nito
(F9PT-Ig-h-43)
• Nasusuri ang pagiging makatotohanan ng ilang pangyayari sa isang dula
(F9PUIg-h-45)
• Nagagamit ang mga ekspresyong nagpapahayag ng katotohanan (sa totoo, talaga,
tunay, iba pa) (F9PS-Ig-h-45)
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Grade Level: 9 Quarter: Second
• Naisusulat ang isang maikling dula tungkol sa karaniwang buhay ng isang pangkat
ng tao sa ilang bansa sa Asya (F9PU-IIg-h-51)
• Nagagamit ang mga angkop na pang -ugnay sa pagsulat ng maikling dula (F9WG-
IIg-h-51)
Music

• explores ways of producing sounds on a variety of sources that is similar to the

instruments being studied; (Week 4, MU7LU-Ib-f- 4)
• improvises simple rhythmic/melodic accompaniments to selected music from the
Lowlands of Luzon; (Week 5, MU7LU-Ic-f)
• performs music from Luzon lowlands with own accompaniment; (Week 6, MU7LU-
Ia- h-7)
• evaluates music and music performances with rubrics on musical elements and
styles. (Week 7-8, MU7LU-Ic-h-10)
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Grade Level: 7 Quarter: Second
• discovers ways of producing sounds on a variety of sources similar to instruments

being studied; (Week 4, MU7LV-IIb-g- 4)
• improvises simple rhythmic/melodic accompaniments to selected music from the
Cordillera, Mindoro, Palawan and of the Visayas; (Week 5, MU7LV-IIb-g- 7)
• performs music from Cordillera Mindoro, Palawan and of the Visayas, with
accompaniment (Week 6, MU7LV-IIb-g-6)
• evaluates music and music performances using rubrics o musical elements and
style. (Week 7-8, MU7LV-IIc-h- 10)

• explains the plot, musical and theatrical elements of an opera after watching video
samples; (Week 1 -2, MU9OP- IVa-g-1)
• performs themes or melodic fragments of given selected songs; (Week 3 -4, MU9OP-
IVb-h-3)
• improvises appropriate sounds, music, gestures, movements, and costumes for a
chosen opera. (Week 5 -6, MU9OP- IVb-h-5)
• evaluates music performances using guided rubrics (Week 7- 8)
133
• explains the performance practice (setting, composition, role of composers/

performers, and audience) of 20th century music; (Week 2- 3, MU10TC- Ib-g-4)
• performs music sample from the 20th century (Week 5- 6, MU10TC- Ib-5)
• evaluates music and music performances using guided rubrics (Week 7- 8)

• describes how an idea or story in a musical play is presented by watching a live

performance or video excerpt; (Week 1 -2, MU10MM- IIIa-h-1)
• explains how theatrical elements in a selected part of a musical play are combined
with music and media to achieve certain effects; (Week 2- 3, MU10MM- IIIa-h-2)
• creates appropriate sounds, music, gestures, movements, and costume using media
and technology for a selected part of a musical play; (Week 4- 6, MU10MM- IIIc-h-4)
• performs an excerpt from a 20th or 21st century Philippine musical and highlight its
similarities and differences to other western musical play. (Week 7- 8, MU10MM-
IIIg-h-5)
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Arts

• designs the visual elements and components of the selected festival or theatrical
form through costumes, props, etc. (Weeks 5- 8 / 4th Q, A7PR- IVd-1)
• analyzes the uniqueness of each group’s performance of their selected festival or
theatrical form
• choreographs the movements and gestures reflecting the mood of the selected
Philippine festival/theatrical form (Weeks 5- 8 / 4th Q, A7PR- IVh-2)
• improvises accompanying sound and rhythm of the Philippine festival/theatrical
form (Weeks 5- 8 / 4th Q, A7PR- IVe-f-4)
• performs in a group showcase of the selected Philippine festival/theatrical form
(Weeks 5- 8 / 4th Q, A7PR-IVg-5)

• through a visual presentation, explains what make each of the Asian Festivals and
Theatrical forms unique
• designs the visual elements and components of the selected festival or theatrical
form through costumes, props, etc.
• choreographs the movements and gestures reflecting the mood of the selected
festival/theatrical form of Asia
• improvises accompanying sound and rhythm of the selected festival/ theatrical form
of Asia (Weeks 5- 8 / 4th Q)
135
Grade Level: 9 or 10 Quarter: Fourth
• explains how an idea or theme is communicated in a selected performance through

the integration of musical sounds, songs, dialogue and dance (Weeks 1, A10EL-
IVb-4)
• analyzes examples of plays based on theatrical forms, and elements of art as applied
to performance (Weeks 1, A10EL- IVa-2)
• illustrates how the different elements are used to communicate the meaning (Week
2, A10EL- IVc-3)
• Explains the uniqueness of each original performance (Week 2, A10PL- IVh-1)
• designs with a group the visual components of a school play (stage design, costume,
props, etc.) (A10PR- IVe-1)
• assumes the role of a character as an actor/performance, or production staff (director,
choreography, light designer, stage manager) (Week 3 Week 4, A10PR- IVh-2)
• analyzes the uniqueness of the group that was given recognition for its performance
and explain what component contributed to its selection (Week 3 Week 4, A10PR-
IVh-3)
• contributes to the conceptualization of an original performance (A10PR- IVd-4)
• choreographs the movements and gestures needed in the effective delivery of an
original performance with the use of media (Week 5, A10PR- IVf-g-5)
• improvises accompanying sound and rhythm needed in the effective delivery of an
original performance with the use of different media (Weeks 6, A10PR- IVf-g-6)
136
Contemporary Philippine Arts from the Region
Grade Level: 11 or 12 Semester: First / Second

• Researches on techniques and performance practices applied to contemporary arts

(CAR11/12TPP-0c -e-10)
• Identifies local materials used in creating art (CAR11/12TPP-0c -e-11)
• Critiques available materials and appropriate techniques (CAR11/12TPP-0c -e-12)
• Justifies the use of materials and the application of techniques (CAR11/12TPP-0c
-e-13)
• Conceptualizes contemporary art based on techniques and performance practices
in their locality. (CAR11/12AP-0f -h-14)
• Applies artistic skills and techniques in the process of creation (CAR11/12AP-0f -h-
15)
• Incorporates contemporary characteristics to one’s creation with attention to detail
(CAR11/12AP-0f -h-16)
• Creates the intended final product using appropriate materials for the best possible
output (CAR11/12AP-0f -h-17)
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Appendix
Dear Teach and Facilitator,
Mabuhay!
We know you have come a long way to read it all the way here! Thank you for
learning together with this module. We hope you have gained so much in this reading
experience. Now, it’s time to pass it on. Here are some helpful ways to design your
sessions.
These samples that shall follow are based on the module you just finished reading.
We encourage that you still always keep it within reach, to clarify points and to better
share it with your students. There are two main parts to follow: I) the outline of the
sessions; and II) a sample session.
Finally, what other better way to do it, than to be joyful in sharing!
All the best always!
Mabuhay!
138
Sample Concept Note
REPUBLIC OF THE PHILIPPINES
DEPARTMENT OF EDUCATION
DISASTER RISK REDUCTION AND MANAGEMENT SERVICE
Rm206MABINI BLDG., DEPED COMPLEX, MERALCO AVENUE, PASIG CITY
Tel. Nos. +632-635-3764; +632-637-4933
Mobile Nos. +63908-2630382; +63915-5153138
Email address: drrmo@deped.gov.ph

in celebration of National Climate Change Consciousness Week
Concept Note
Context
“We are running out of time.” - Jayathma Wickramanayake, Special Envoy for Youth of the
United Nations Secretary-General
These were the words that closed the High-Level Meeting on Climate and Sustainable
Development, March 28, 2019. The statement was grounded on the 2018 International Panel on
Climate Change (IPCC) Special Report which stated that a 1.5 degrees Celsius increase in global
temperature brought by anthropogenic activity in 2030 has significantly lower threat than the 2
degrees increase targeted by the Paris Agreement. However, four oil producing countries
disputed the findings in the Bonn Climate Change Conference in June 2019 that could lead to
removal of the entire document in succeeding climate talks. Additionally, Intended Nationally
Determined Contributions (INDCs) of countries set in 2015 will result to a temperature rise of
around 2.7 degrees Celsius by 2100. Nonetheless, an increase of 1.5 degrees Celsius will still cause
hot extremes, sea level rise, decrease in biodiversity and loss of ecosystems, and ocean
acidification among others impacting disadvantaged and vulnerable populations the most with
increase of heat and ozone-related morbidity and mortality, vector-borne diseases, agricultural
loss, water scarcity, and disaster-related damages and deaths.
Indeed, climate change is here and now. More than 740 local governments around the world had
declared a climate emergency as we experience more intense and frequent climate related natural
hazards, brought about by increasing temperature of the earth’s surface. The 2019 Global Peace
Index stated that the Philippines is the most susceptible country to hazards brought about by
climate change. In addition, the Global Climate Risk Index of the German Watch from 1996 to
2015 ranked the Philippines as the fifth country most vulnerable to climate change. Data from the
Department of Education’s (DepEd) Enhanced Basic Education Information System (EBEIS) from
school year (SY) 2009-2010 to SY 2017-2018 show that 43,810 of the almost 47,000 public schools
in the country experienced natural hazards at least once in eight (8) years and there were about
39,738 schools that that have been affected by tropical cyclones within those years. With this, the
Philippines is urged to declare a climate emergency.
Pope Francis, in Laudato Si, stresses, “climate change is a global problem with grave implications:
environmental, social, economic, political and for the distribution of goods” and laments that the
poor (who are least responsible for causing the problem) are disproportionately vulnerable to its
harmful effects. Included in those most vulnerable are the children. The UNICEF Study on
“Climate Landscape: Analysis for Children in the Philippines” reports that “climate change
139
exacerbates the many threats to children’s wellbeing, survival and access to services in the
Philippines, including education, water and sanitation, nutrition and health”.
All over the globe, children are taking action. In 2011, the Children’s Charter for Disaster Risk
Reduction (DRR) has been developed through consultations with more than 600 children in 21
countries in Africa, Asia and Latin America. Children articulated the impacts of climate change
and disasters and called on governments’, donors’, and other stakeholders’ commitment on five
priority actions they have identified. Today, children are going to the streets, mobilizing peers,
engaging and compelling leaders to listen and act with urgency. These children have called
global attention that we have reached a “climate crisis”, a “climate emergency”. These children
are defining the future they want, as they feel left out as continuing paradigm of growth and
development persists to disregard the future of our planet, of the environment, on which human
survival depends on.
In the Philippines, DepEd Secretary Leonor Briones highlights the need to “rework” and review
the current K-12 basic education curriculum to increase awareness on the effects and “emerging
challenges” brought about by climate change. “We will have to rework our curriculum to make
our children more aware and also the community,” Sec. Briones said.
With makakalikasan as one of its core values, the Department of Education answered to the call for
climate change adaptation and mitigation by actively participating in the Expanded National
Greening Program in addition to integrating environment and climate change adaptation and
mitigation in the curriculum. The Gulayan sa Paaralan and School Inside a Garden (SIGA) (DO
5, S. 2014) serve as an adaptation and mitigation technique to ensure food security and absorb
carbon emissions. Moreover, more than 30 million pesos was allocated for the Green Basic
Education Facilities 2019 budget which covers sourcing of sustainable and reliable water and
energy, building Materials Recovery Facility (MRF), and using indigenous and sustainable
materials, whenever possible, among others. This is in accordance with the forward-looking
Public Schools of the Future agenda by the Administration Strand anchored on the Secretary’s
10-Point Agenda.
In celebration of the Climate Change Consciousness Week and to stress the need to declare
climate emergency, the DepEd Disaster Risk Reduction and Management Service will organize
the National Conference on Climate Change and the Climate Action Advocacy Show.

“A Future Threatened by Climate Change: Voices and Visions of the Youth”
On November 19, 2019, opening the Climate Change Consciousness Week, DepEd learners will
stage a show at the Cultural Center of the Philippines (CCP) entitled “A Future Threatened by
Climate Change: Voices and Visions of the Youth”. As an institution responsible for raising
critical thinking, DepEd is bringing together children to articulate their voices on climate change,
on the current climate crisis. Junior and Senior High School Students will portray how they as the
future, and their future lives, are threatened by climate change. They will communicate their
visions of their desired future; put forward the future they want, and what this demands from
our leaders, families, and communities. The show is a collaboration among the DepEd Disaster
Risk Reduction and Management Service (DRRMS), the National Capital Region, and the CCP.
140
Date and Venue
• November 19, 2019
• Tanghalang Aurelio Tolentino (Little Theater), Cultural Center of the Philippines
Show Time
• Matinee at 3:00pm – to be attended by parents, NCR SDS, teachers, learners, and LGUs
• Gala at 7:00pm – to be attended by RDs, SDSs, partners, NGAs, industries, and partners
Audience
• 820 people composed of DepEd national and regional personnel, selected learners,
families, representatives of LGUs, NGAs, industries, and partners
Actors
• 75 Junior and Senior High School Learners from NCR
Preparations
• Ideation Workshop with fifteen (15) learners on September 7 and specialists on
September 8
• Tentative dates of rehearsals:
o September 28
o October 5
o October 12
o October 19
o October 26
o November 9
o November 16
o November 18
• Technical dress rehearsal in the morning of November 19
141
I. OUTLINE OF THE SESSIONS: Divided into three sample outlines -- Paglikha, Palabas, and
Pagpapalalim
Phase: Paglikha
Session # 00
Date Log: MM-DD-YYYY
Target Duration: X Hours
Before the Session Starts
OBJECTIVE Set what you want to achieve for the session guided by the activities
and the pieces of information to help further understand our advocacy
to the climate.
SPACE Determine the following:

1. Shared Activity Space. How much of a common space do we need
for the main activity area?
2. Standby Space. Where should the bags be placed? Against the wall
on the floor? In one row of chairs?
3. Facilitator’s Space. Where is your space as a facilitator?
TIME How long will the session be? This will affect how much activities you
can design to achieve your objective
THE SESSION
WARM UP Body & Voice
DOING Choose among the Doing Activities in Paglikha Section

Physical Dimension
THINKING Choose which among the Seven Environmental Principles can help in
Cognitive discussing the relevance of the Physical Dimension --
Dimension 1) Nature knows best
2) All forms of life are important
3) Everything is connected to everything else
142
4) Everything changes
5) Everything must go somewhere
6) Ours is a finite earth
7) Nature is beautiful and we are stewards of God’s creations
FEELING Choose which among the Five Types of Culture is/are in sync with the
Reflective Dimensions above --
Dimension 1) Culture of Power
2) Culture of Wealth
3) Culture of Shared Being
4) Culture of Simple Needs
5) Ethnicity or Culture as Creative Construct
TAKEAWAYS Consolidate the talking points and offer insightful takeaways,

questions, and facilitate the sharing of everyone.
NOTES
You may log your notes about the session here
143
Phase: Palabas
Session # 00
to the climate.

TIME How long will the session be? This will affect how much activities you
can design to achieve your objective
THE SESSION
DOING Choose among the Doing Activities for Palabas

Physical Dimension
THINKING Choose which among the Seventeen Sustainable Development Goals

Cognitive can help in discussing the relevance of the Physical Dimension --
Dimension The 17 SDGs are:
1) No Poverty
2) Zero Hunger
3) Good Health and Well-being
4) Quality Education
144
5) Gender Equality
6) Clean Water and Sanitation
7) Affordable and Clean Energy
8) Decent Work and Economic Growth
9) Industry, Innovation and Infrastructure
10) Reducing Inequality
11) Sustainable Cities and Communities
12) Responsible Consumption and Production
13) Climate Action
14) Life Below Water
15) Life On Land
16) Peace, Justice, and Strong Institutions
17) Partnerships for the Goals
FEELING Choose which among the Filipino Concept in Development is/are in

Reflective sync with the Dimensions above --
Dimension 1) Building on Filipino cultural strengths
2) Working for the good of the nation as a whole
3) Developing pride in being Filipino

NOTES
145
Phase: Pagpapalalim
Session # 00 (This can be done in just one session incorporating all elements listed in the
module for Pagpapalalim)
to the climate. Since this can be the post-production get together,
allow students to express themselves.

TIME How long will the session be? Make sure that the students have ample
time to process what has transpired in the series of creation days and
presentations day(s).
THE SESSION
DOING You may choose one of the following or may choose to facilitate both:
Physical Dimension 1) Creative Paper Graffiti
2) Collective Dream Exhibit
THINKING Taking Action on Climate Emergency

Cognitive Facilitate your questions based on the text provided in this part,
Dimension and/or, generate it according to the journey of each phase.
146
FEELING The Social Universe of the Filipino
Reflective Facilitate your questions based on the text provided in this part,
Dimension and/or, generate it according to the journey of each phase.
PABAON How do you wish to send off the students after all this? What are their
takeaways, their Pabaon? What is the challenge now?
NOTES
147
II. SAMPLE SESSIONS: Divided into three sample sessions -- Paglikha, Palabas, and
Pagpapalalim
Phase: Paglikha
Session # 3
Target Duration: 3 Hours
OBJECTIVE This session aims to teach the value of seeing our sense of
interconnectedness to living and nonliving things, through the
participation of students to activities (Doing | Physical Dimension) and
discussion points (Thinking | Cognitive Dimension, and Feeling |
Reflective Dimension).
SPACE 1. Shared Activity Space | The center space of a classroom clear of

chairs and litters.
Chairs should be placed on the sides.
2. Standby Space | Bags of the participants should be placed against

the wall
3. Facilitator’s Space | Near the blackboard, the teacher’s table will

work best as my space as a facilitator.
TIME 3 hours
THE SESSION
DOING Ecology Systems Devise

Physical Dimension
THINKING Seven Environmental Principles that can help in discussing the

Cognitive relevance of the Physical Dimension --
148
Dimension ● All forms of life are important
● Everything is connected to everything else
● Nature is beautiful and we are stewards of God’s creations
FEELING ● Culture of Shared Being

Reflective
Dimension

NOTES
149
Phase: Palabas
Session # 10
OBJECTIVE This session aims to find out how the idea of sustainability is a
conscious decision to take in theatre-making, specifically in sound and
music design

chairs and litters.

the wall

TIME 3 hours
THE SESSION
DOING Found Music and Sound Design

Physical Dimension
THINKING ● SDG 11: Sustainable Cities and Communities

Cognitive ● SDG 12: Responsible Consumption and Production
Dimension ● SDG 13: Climate Action
150
FEELING ● Culture of Shared Being
Reflective
Dimension

NOTES
151
Phase: Pagpapalalim
Session # 20
OBJECTIVE ● This last session aims to unpack what the students have
learned throughout the 20 days (may vary) of creation and
presentation sessions.
● This session also aims to see how the students can continue
practicing what they learned, and how they can pass it on to
others.

chairs and litters.

the wall

TIME 3 Hours
THE SESSION
WARM UP Body & Voice (this is important as a Physical Dimension is still part of
the process)
DOING ● Creative Paper Graffiti

Physical Dimension ● Collective Dream Exhibit
THINKING ● Taking Action on Climate Emergency

Cognitive
152
Dimension Facilitate your questions based on the text provided in this part,
and/or, generate it according to the journey of each phase.
FEELING ● The Social Universe of the Filipino

Affective Dimension Facilitate your questions based on the text provided in this part,
and/or, generate it according to the journey of each phase.
PABAON How do you wish to send off the students after all this? What are their
takeaways, their Pabaon? What is the challenge now?
NOTES
153
SAMPLE CALENDAR OF CREATIVE ENGAGEMENT
Day # PHASE SPACE DURATION DATE
0 Orientation Classroom A 2 Hours MM-DD-YYYY

Talk About Climate
Change
1 Paglikha Classroom A 3 Hours MM-DD-YYYY

Session A

Session B

Session C

Session D
5 Palabas Classroom A 3 Hours MM-DD-YYYY

Introduction to Theatre

Session A

Session B

Session C

Session D

Session E
11 Rehearsal Classroom A 3 Hours MM-DD-YYYY
15 Space Adjustment Venue of 4 Hours MM-DD-YYYY

Presentation
16 Technical Dress Venue of 4 Hours MM-DD-YYYY
154
Rehearsal A Presentation
17 Technical Dress Venue of 4 Hours MM-DD-YYYY

Rehearsal B Presentation
18 Presentation Day 1 Venue of 4 Hours MM-DD-YYYY

Presentation
19 Presentation Day 2 Venue of 4 Hours MM-DD-YYYY

Presentation
20 Pagpapalalim Classroom A 3 Hours MM-DD-YYYY
155
Sample Schedule of Rehearsal
Production Title
Venue
Date(s) of Performance(s)
Time Activity Person-to-Lead
8:00 AM Call Time -
8:30 AM Warm Up Body Any performer
8:45 AM Voice Exercise Any performer
9:00 AM Rehearsal of Scenes Facilitator w/ Stage

Manager
10:00 AM Run Thru Stage Manager
11:00 AM Notes & Reminders Facilitator w/ Stage

Manager
156
Glossary
Affective Feeling; Key ideas on culture and society, together with a reflective
discussion will bring depth.
Affirmation Reinforcing ideas or behaviours
Ancestor Forefather; a person from whom one’s lineage descended from
Animism Treating nature and the environment with high regard. Even until
now, most Filipinos believe in a supreme being or Bathala and other
natural spirits tasked with maintaining order in nature.
Appreciative Showing appreciation
Audio drama A performance form that can be utilized in telling a story using sound
recorders in your phone, laptop, or desktop; can be presented on
various platforms such as radio, podcast channels, and other sound-
streaming applications
Biodiversity The vast variety of species and ecosystems found in the planet;
natural resources that are important for food production and security
Biodeversity The practice of protecting biodiversity, which is vital for food production
conservation and sustainability; can also help in addressing the effects of climate
change.
Carbon Sink Any natural or artificial reservoir, such as undisturbed forests and the
ocean, that takes in and stores carbon, significantly more than what
they give out into the atmosphere, thus helping the environment by
limiting greenhouse gas emissions.
Climate action Activities that combat climate change and its impacts
157
Climate change Change in climate that can be identified by changes in the mean and/
or variability of its properties and that persists for an extended period
typically decades or longer, whether due to natural variability or as a
result of human activity (RA 9729)
Climate crisis A situation characterized by the threat of highly dangerous, irreversible

changes to the global climate; also known as Climate Emergency;
Coastal communities Communities living near bodies of water
Cognitive Thinking; important facts and information
Collaboration The action of working with someone to produce or create something.
Color Quality of light that gives pigmentation to objects. Color can be

changed in terms of hue (e.g., red, green, blue), value (shades
of each color), and intensity (the brightness or darkness of the color).
Costumes Wearable objects that (1) tell us about the profile and inner and outer
reality of the character, (2) support the setting of the play, and (3)
indicate the setting and passage of time.
Creative facilitator Person holding space for everyone in the room and you are ensuring
everyone can be safe, everyone can share, and everyone can trust
one another in the sessions to follow
Culture The set of distinctive spiritual, material, intellectual and emotional

features that characterize a society or social group
Disaster A serious disruption of the functioning of a community or a society

involving widespread human, material, economic or environmental
losses and impacts, which exceeds the ability of the affected
community or society to cope using its own resources.
Disaster impacts Effects of disaster such as loss of life, injury, disease and other
negative effects on human physical, mental and social well-being,
together with damage to property, destruction of assets, loss
of services, social and economic disruption and environmental
degradation.
158
Exposure Areas or location that may potentially be affected by hazard where
people, infrastructure, and other resources may be found
Forms Objects that occupy space in a 3-dimensional nature, created by

connecting shapes together. They can be varied in terms of sizes
and scale with respect to one another.
Hazard A dangerous phenomenon, substance, human activity or condition

that may cause loss of life, injury or other health impacts, property
damage, loss of livelihoods and services, social and economic
disruption, or environmental damage. Such hazards arise from a
variety of geological, meteorological, hydrological, oceanic, biological,
and technological sources, sometimes acting in combination.
Legato Producing a long note without any intervening other notes

or rests from the start to the end of the sound of the note produced
Line The basic building block of design. It connects point A to point

B. A line can be varied by its direction or its quality
Movement Describes how the objects guide the viewer’s eye. A design’s
movement may be dynamic, static, erratic, or consistent.
Participatory A performance that makes audiences part of the story. The performers
performance give interactive prompts, ask direct questions, and even encourage
audiences to do an action, shout a line, or provide some sounds or
lights. These interactive prompts can be in the form of icebreakers,
games, collective singing and dancing, and many more
Puppetry The art of giving life to an inanimate object or puppet.
Reflection A basic theater exercise on eye and body coordination
Risk Likelihood of severe outcomes due to hazard events occurring in

exposure areas with high level of vulnerability
Shapes Formed when lines create an enclosed space. Certain edged shapes,
like squares, can evoke rigidness while curved shapes can show
fluidity.
159
Space Used to create illusions of depth. It may be 2-dimensional, 3
-dimensional, negative (empty), or positive (occupied). You can also
play with the nearness or farness of objects within the space.
Spatial relationship The distance between things onstage: the distance of one body to
another body; one body (or bodies) to a group of bodies; and the
body or bodies to the architecture.
Staccato Performing each note sharply detached or separated from the others
Sustainable Objectives formulated that must be achieved to help us sustain our

development goals life here on earth
Tactile Doing; involves physical and group activities like movement, games,
and hands-on projects
Texture The surface quality of an object. It can vary from rough to smooth,
hard to soft.
Vulnerability The characteristic of an element that influences the level to which it

may be affected by a hazard event.
160
Index
Activity, empathy walk 78-79 Extinction 48
Activity, healing systems 83-84 Feedback, asking for 38
Activity, magnet 80-82 Greenhouse gases 18
Animism, belief in 20 Hazards 71
practice 45 Interconnectedness 85
Breathing 31 Imagery, use 30
Body sculpture 68 Indigenous People (IP) 53
Carbon dioxide, causes 18 ancestral domain
Carbon sink 18, 47, 50 Journaling 59
Climate change Laudato Si 18; 52-53
children’s charter 18 Music see Design, Sound
impact 19 Neutral position 30
adapting 19, 20 Paper Graffiti 107-108
Climate change Commission 19 Performance, audio drama 101-103
Climate emergency 18, 105-106 Performance, participatory 98
Consonants, exercises for 32 Performance, puppetry 99-100
Creative output 64 Pitch 33
Culture 19 Reflection 77
indigenous people 19 SDGs, see Sustainable Development Goals
ecology, and 20 Safety, from hazards 39
feeling 24 Staging, theater 89-90
types 43-45 Self-introduction 55, 56, 57
of shared being 60 Self-perception 62
of power and wealth 75 Sound effects, see Performance, audio drama
Cultural strength 86-87 Spatial relationships 37
Design, costume 91-92 Staccato, 32
Design, lighting 95-96 Stewardship 52
Design, props 92-93 Sustainability 51
Design, sound 94 Sustainable Development Goals 87-88, 97
Design, theater 91 Tableau 69
Disaster 72 Tongue twisters 34
Earth Overshoot Day 51 Voice, use of 29
Environment 21, 46 Volume 32
principles 46-53 Vowels, exercises for 31
habitat 47 Warm-up 29, 77
161
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KaLIKHAsan!

Likha at Lakas ng Kabataan Para sa Kalikasan:

This sourcebook was collaboratively developed and reviewed

We value your feedback and recommendations

This KaLIKHAsan! Likha at Lakas ng Kabataan Para sa Kalikasan: Creative Sourcebook on

Published by the Department of Education

Disaster Risk Reduction and Management Service

project supervision and management

Lara Jean L. Salaysay

Joseph Keith Anicoche

Eva Mari D.G. Salvador

Dr. Leoncio Amadore

Dr. Rodel Lasco

Handang Isip! Handa Bukas!

Leonor Magtolis – Briones

Alain Del B. Pascua

Diosdado M. San Antonio

Through the KaLIKHAsan Creative Sourcebook, we hope to promote this improvement in

Eva Mari G. Salvador

Hello, teacher/ facilitator/ kasangga!

Here is our sharing to everyone – a module that has embarked on culturally-responsive

There are five main sections:

1 Climate Action Advocacy Show

issues through Philippine art and culture.

2 Understanding the KaLIKHAsan! Module

4 Feeling, Thinking, Doing

5 Wraps up the whole sourcebook, with messages from student-

At the end of this sourcebook are additional resources for the

Further information and

All over the globe, children are taking action.

Climate change is shaping Filipino culture as well.

Thus, to engage Filipino learners in the global conversation towards climate

2. ABS-CBN News, Philippines urged to declare climate emergency,

4. D. Eckstein, and V. Kunzel, L. Schafer and M. Winges. Global Climate

5. P. Francis, and S. McDonagh, On Care for Our Common Home,

6. C. Klauth, and J. B. Ortega, Climate Landscape Analysis for Children in

7. Climate Change Commission, Climate Change and the Philippines:

8. F. M. De Leon, Celebrating the Creative Living Presence: A Culture of

9. E. N. Licnachan, Indigenous Peoples of Ifugao: Responding to Climate

10. De Leon, A Culture of Healing, 40.

11. De Leon, 43.

feeling, thinking, doing

how to design your

We regard these three dimensions as important characteristics in

The FEELING or affective dimension is centered on

The DOING or tactile/physical dimension is directed

How to Design Your Workshop

discuss in your session.

intend to focus on in your session.

need inspiration or more information?

Check out SAMPLE WORKSHOP DESIGN &

The sample also includes possible workshop schedules if you’re

warm-up for facilitators

You will bring KaLIKHAsan to life!

Instruments of the Creative Facilitator

using your voice during facilitation

Always aim for clarity. Hit your consonants. Slow down.

Project your voice towards your participants.

Voice is energy. Keep a relatively loud and cheerful voice.

Use your voice to encourage others to speak. The job of the

facilitator is not just to lead activities but also to facilitate the

Warm-up for facilitators and

To achieve the neutral position, have the participants find