ED 4 REVIEWER
of facts, concepts, and principles of the subject
TOPIC 1: APPROACHES ABOUT
SCHOOL CURRICULUM
Three ways in approaching a curriculum:
 Content
 Product
 Process
NOTE: From the various discussions, we
realize that curriculum is viewed in many ways.
Let us look back and use the definitions as a
way of classifying how curriculum is viewed. In
this lesson, let us look at the curriculum as
either content, process, or a product to fully
understand the different perspectives of what
curriculum us all about. This can be one way of
approaching a curriculum.
Curriculum can be approached seen in 3 ways.
The content of body of knowledge to be
transmitted. Second is to approach it as a
product or the learning outcomes desired of
learners. Third, is to approach it as a process
or what happens in the classroom when the
curriculum is practiced.
Curriculum as a Content or Body of
knowledge
 This is quite common for traditionalist to
equate curriculum as topic outline,
subject matter, or concepts to be
included in the syllabus or books.
 If curriculum is equated as content, then
the focus will be the body of knowledge
to be transmitted to students using
appropriate teaching method.
NOTE: example: a primary school mathematics
curriculum consists of topics on addition,
multiplication, subtraction, division and many
more. Another example is in secondary school
science that involves the study of biological
science, physical science, environmental
science and earth science. Textbooks tend to
begin with biological science such as plants,
animals, physical science elements, force….
- The teaching will be limited to the acquisition
matter
Criteria in the selection of content
 Significance - Content should
contribute to ideas, concepts, principles
and generalization that should attain the
overall purpose of the curriculum. It is
significant if content becomes the
means of developing cognitive, affective
or psychomotor
 Validity - Knowledge becomes obsolete
with the fast-changing times. Thus, there
is a need for validity check and
verification at a regular interval, because
content which maybe valid in its original
form may not continue to valid in the
current times.
 Utility - Usefulness of the content in the
curriculum is relative to the learners who
are going to use these. Utility can be
relative to time. It may have been useful
in the past but may not be useful now or
in the future.
Questions like: Will I use this in my
future job? Will it add meaning to my life
as a lifelong learner? Or will it the
subject matter be useful in solving
current concerns?
 Learnability - The complexity of the
content should be within the range of
experiences of the learners. Appropriate
organization of content standards and
sequencing of contents are two basic
principles that would influence
learnability.
 Feasibility - Can subject content be
learned within the time allowed,
resources available, expertise of the
teachers and the nature of the learners?
Are there contents of learning which can
be learned beyond the formal teaching-
learning engagement.
 Interest - Will the learners take interest
in the content? Why? Are the contents
 meaningful? What value will the
contents have in the present and future
life of the learners? Interest is one of the
driving force for students to learn better.
GUIDE IN THE SELECTION OF THE
CONTENT IN THE CURRICULUM
 Content is commonly used in the daily
life
 Content is appropriate to the maturity
levels and abilities of the learners
 Content is valuable in the meeting
needs and competencies of the future
career.
 Content is related to other subject fields
or discipline for complementation and
integration.
 Content is important in the transfer of
learning in other discipline.
BASIC PRINCIPLES OF CURRICULUM
CONTENT
NOTE: This is the principle of BASIC as a
guide in addressing the content in the
curriculum. BASIC refers to Balance,
Articulation, sequence, integration and
continuity. In organizing content or putting
together subject matter, these principles are
useful as a guide.
 Balance - Content should be fairly
distributed in depth and breadth. This
will guarantee that significant contents
should be covered to avoid too much or
too little of the contents needed with in
the time allocation.
 Articulation - As the content complexity
progresses with the educational levels,
vertically or horizontally across the same
discipline smooth connections or
bridging should be provided.
Horizontally - focus on expertise
Vertically- help to put the knowledge into
practice.
This will assure no gaps or overlaps in
the content
 Sequence - The logical arrangement of
the content, refers to sequence or order.
 Integration - Content in curriculum does
not stand alone or in isolation. It has
some ways of relatedness or
connectedness to other contents.
- Contents should be infused in other
disciplines whenever possible. This will
provide a wholistic or unified view of
curriculum instead of segmentation.
Contents which can be integrated to
other disciplines
 Continuity - Content when viewed as a
curriculum should continuously flow as it
was before, to where it is now and
where it will be in the future.
-It should pe perennial. Content may not
be in the same form and substance as
seen in the past since changes and
developments in curriculum occur.
Constant repetition, reinforcement an
enhancement of content are all
elements of continuity.
CURRICULUM APPROACHED AS A
PROCESS
NOTE : We have seen that the curriculum
can be approached as content. On the
other hand, it can also be approached as a
process. Curriculum is not seen as a
physical thing or a noun, but as a verb or an
action.
1. In the classroom, curriculum happens as
the questions asked by the teacher and
the learning activities engaged in by the
students. In used in an analogy of the
recipe in a cook book, a recipe is a
content while the ways of cooking is the
process.
2. Curriculum as a process is seen as a
practice teaching, It is not a package of
materials or a syllabus of contents to be
covered. The classroom is only part of
the teaching and learning environment
where the teacher places action using
the content to achieve an outcome.
Hence, the process of teaching and
learning becomes the central concern of
 teachers to emphasize critical thinking,
thinking meaning-making and heads-on,
hands-on doing…
• This is an interaction among the
teachers, students and the content.
• It is an active process with emphasis on
the context in which the processes
occurs.
• If you have this content, how will you
teach it?
GUIDING PRINCIPLES
NOTE: When the curriculum is approached
as a Process, the guiding principles are
presented.
 Curriculum process in the form of
teaching methods or strategies are
means to achieve and end.
 There is no single best process or
method. Its effectiveness will depend on
the described learning outcomes, the
learners, support materials and the
teacher.
 Curriculum process should stimulate the
learners’ desire to develop the cognitive,
affective, psychomotor domains in each
individual.
 In the choice of methods, learning and
teaching styles should be considered.
 Every method or process should result
to learning outcomes which can be
described as cognitive, affective and
psychomotor.
 Flexibility in the use of the process or
methods should be considered. An
effective process will always result to
learning outcomes.
 Both teaching and learning are the two
important processes in the
implementation of the curriculum.
CURRICULUM AS A PRODUCT
NOTE: Beside viewing curriculum as
content that is to be transmitted, or
process that gives action using the
content, it has also been viewed as
product. In other words, product is what
the student desire to achieve as a
learning outcome.
There may be several desired learning
outcomes, but if the process is not
successful, there’s no learning
outcomes will be achieved.
 The product form the curriculum is a
student equipped with the knowledge,
skills and values to function effectively
and efficiently.
 Curriculum product is expressed in form
of outcomes which referred to as the
achieved learning outcomes.
TOPIC 2: CURRICULUM DEVELOPMENT:
PROCESSES AND MODELS
 It is a dynamic process that occurs
changes intended for improvement.
EXPLANATION: - Process involving many
different people and procedures. Development
connotes changes in which is systematic.
 The development of curriculum should
be purposeful, planned and progressive.
Most models involve four phases –
Usuallyit is linear and follows a logical step by
step fashion involving the ff. phases.
• Curriculum Planning - Considers the
school vision, mission and goals. It also
includes the philosophy of strong
education belief of the school.
- All of these will eventually be
translated to classroom desired learning
outcomes for the learners.
• Curriculum Design - the way
curriculum is conceptualized to include
the selection and organization of the
content, the selection and organization
of learning experiences or activities and
 the selection of the assessment • An American educator who worked in
procedure and tools to measure the field of assessment and evaluation.
achieved learning outcomes.
• He has been called by some as "the
- Will also include the resources to be father of educational evaluation and
utilizes and the statement of the assessment".
intended learning outcomes.
• The curriculum development model
• Curriculum Implementation - is putting emphasizes the planning phase.
into action the plan which is based on
the curriculum design in the classroom - Also known as a Tyler’s Rationale, the
setting or the learning environment. The curriculum development model emphasizes the
teacher is the facilitator of learning and, planning phase. This is presented in his book
together with the learners, uses the basic principle of curriculum and instruction.
curriculum as design guides to what will 1. What education purposes should
transpire in the classroom with the end schools seek to attain?
in view of achieving the intended
learning outcomes. 2. What educational experiences can be
provided that are likely to attain these
-Implementing the curriculum is where purposes?
action takes place. It involves the
activities that transpire in every 3. How can these educational experiences
teacher’s classroom where learning be effectively organized?
becomes an active process. 4. How can we determine whether these
• Curriculum Evaluation - Determines purposes are being attained or not?
the extent to which the desired
outcomes have been achieved. This
procedure is on-going as in finding out
the progress of learning or the mastery
of learning. Along the way, evaluation
will determine the factors that have
hindered or supported the
implementation.
-it will also pinpoint where improvement
can be made and corrective measures,
introduced. The result of evaluation is
very important for decision making of
curriculum planners, and implementors.
Curriculum Development Process Models
Hilda Taba Model: Grassroots Approach
Ralph Tyler Model: Four Basic Principles
 Hilda Taba improved on Tyler’s model.
She believed that teachers should participate in
developing a curriculum. As a grassroot
approach Taba begins from the bottom, rather
than from the top as what Tyler proposed.
- Hilda Taba is the developer of this model of
learning. Taba believed that there is a definite
logical and sequential order in creating a
curriculum. She promotes the “Down-Top
model” or Grassroots approach. Taba’s
grassroots model has seven steps , advocating
a major role for teachers.
1. Goals- Curriculum planning begin by
specifying the major education goals and
specific objectives they wish to accomplish.
2. Design- Designing a curriculum follows after
appropriate learning opportunities as
determined and how each opportunity is
provided Will the curriculum be designed
along the lines of academic disciplines, or
according to student needs and interests or
along themes> these are the questions that
need to be answered at this stage of the
development process
3. A designed curriculum is now ready for
Galen Saylor and William Alexander implementation. Teachers then prepare
Curriculum Model instructional plans where instructional
objectives are specified and appropriate
teaching methods and strategies are utilized
to achieve the desired learning outcome
among students.
4. The last step of the curriculum model is
evaluation. A comprehensive evaluation
using a variety of evaluaton techniques is
recommended. It should involve the total
educational programme of the school and
the curriculum plan, the effectiveness of
instruction and the achievements of the
Galen Saylor and William Alexander
students. Through evaluation process,
viewed curriculum development as consisting curriculum planner and developers can
of four steps. Curriculum is “a plan for providing determine whether or not goals of the
sets of learning opportunities to achieve broad school and the objectives of instruction have
educational goals and related specific been met.
objectives for an identifiable population served
by a single school center.
ED5 REVIEWER

PPT 1: Introduction to 21st Century

Literacies
Literacy according to dictionary
➢ the ability to read and write.
➢ competence or knowledge in a specified area.
➢ Literacy is defined as being able to read and
write, or to having knowledge about a specific
subject. When you can read, this is an example of
literacy. When you are familiar with math, this is an
example of literacy in mathematics. ... The Features of a 21st Century teaching and
condition or quality of being literate, especially the learning
ability to read and write. 21st Century Learner
➢ noun. the quality or state of being literate, ➢ Students are learning by doing
especially the ability to read and write. possession ➢ Students live in a world of digital audio and text.
of education: to question someone's literacy. a
➢ Students are multitaskers that use sound and
person's knowledge of a particular subject or field:
to acquire computer literacy; improving your images to convey content whenever possible
financial literacy. ➢ Students use multiple resources including
technology to find and gather the information.
Traditional Literacy according to the dictionary
➢ Literacy - definition (Traditional) Literacy is: "... What does a 21st Century classroom looks
the integration of listening, speaking, reading, like?
writing and critical thinking. It includes a cultural
knowledge which enables a speaker, writer or
reader to recognise and use language appropriate
to different social situations.
➢ (Traditional) Literacy is: ... the making of
meaning and its clear communication to others.
Truly literate people not only read and write, but
regularly do so in order to sort out their ideas and
put them in words, to fit them together and test
hypotheses - ie. to make sense and meaning out of
our world
21st Century Classroom
21st Century Literacy according to dictionary ➢ The 21st Century classroom is student centered,
➢ The term “21st-Century skills” is generally used not teacher centered
to refer to certain core competencies such as ➢ The 21st Century classroom is focused on
collaboration, digital literacy, critical thinking, and
producing students who are highly productive,
problem-solving that advocates believe schools
effective communicators, inventive thinkers and
need to teach to help students thrive in today's
masters of technology.
world.
➢ To be literate in the 21st century, a person must 21st Century Teacher
be willing to constantly learn about and adapt to ➢ Teachers are entrusted with mastering skills of
many different areas of life, subjects, and
the 21st Century and modeling the skills in the
environments.
classroom.
➢ The Oxford Dictionary (2018) states that literacy
➢ Teachers assess student instructional needs and
is: (1) the ability to read and write, but also (2)
leaning styles and then draw a variety of
competence or knowledge in a specified area.
instructional and learning methods to meet the
needs of all the students in the classroom.

Teacher’s Role
➢ Teachers embrace new teaching strategies that ➢ Textbooks are no longer the major source of
are radically different from those employed in the information
20th century classroom. ➢ Technology is seamlessly integrated into daily
➢Teachers seek out professional development instruction
opportunities that help them to improve both ➢ The focus is no longer on learning by
students learning and their own performance. memorizing and recalling information, but on
➢ Teacher acts as coaches, helping students as learning how to learn.
they work on projects. ➢ Emphasis in this classroom is on creating
➢ Teachers no longer function as lecturers, but as lifelong learners
facilitators of learning.
➢ Teachers use variety of performance-based Instruction for 21st Century Skills
assessments to evaluate student learning. ➢Students are highly engaged
➢ Teachers use student projects presentations, ➢Learning tasks elicit evidence of learning.
and other performance-based assessments to ➢Students take ownership for learning.
determine students’ achievement and their ➢Relevant to students outside the classroom
individual needs.
➢Students have a good choice and voice in their
learning includes higher order thinking, creativity
Learners’ Role
and motivation.
➢ Students no longer study each subject in
isolation
➢ Student learn to use inquiry method and to
collaborate with others – a microcosm of the real
world they will experience ones they leave the
classroom
➢ Students work in interdisciplinary projects that
use information and skills from a variety of subjects
and address a number of essential academic
standards.
➢ Students keep journals, interview experts ,
explore the internet, or use computer software
programs to apply what they have learned or to find
information.
➢ Students use the information they have learned
and demonstrate their mastery of the content in the
projects, how to conduct an appropriate
investigation, how to find answers and how to use
information.

What are the Curriculum contents?

Curriculum’s Role
➢ Curriculum must become more relevant to what
students will experience in the 21st Century
workplace
➢ 20th Century teaching strategies are no longer
effective.
➢ The collaborative project-based curriculum used
in this classroom develops the higher order thinking
skills, effective communications skills and
knowledge of technology that students will need in
the 21st Century workplace.
➢ The interdisciplinary nature of the 21st Century
classroom sets apart from the 20th Century
classroom

Critical Attributes of a 21st Century Education
➢ Throughout the twenty-first century and beyond,
the world of instructors and students is projected to
alter radically. There has been a paradigm shift in
the delivery of teaching and learning.
➢ As a teacher in the twenty-first century, you must
develop essential knowledge, skills, attitudes, and
values in order to cope with these changes and to
assist your students in doing so as well.
Teaching techniques may have come up in
your discussion on 21st-century educational trends.
These are just a few of the 21st century education
trends and features that you and your students will
encounter today and in the future. Educators have
suggested key features or attributes for 21st-
century learning. As a modernday teacher, you
must be aware of these and seek to understand
them so that you can include them into your
instruction.
1. Integrated and Interdisciplinary
➢ Linkages between several topic areas in an
integrated manner characterize education in the
21st century. The new method encourages the use
of knowledge from various areas.
➢ This key characteristic means that teachers
should assess the school curriculum and identify
tactics or approaches to successfully link different
disciplines to improve students' learning
experiences.
For example, music and algebra can be linked
together in the discussion of fractions.
2. Technologies and Multimedia
➢ Some of your daily actions as a teacher, such as
writing reports, generating multimedia
presentations, and communicating or exchanging
information with colleagues and pupils over the
internet, necessitate varying levels of digital
literacy. As a result, it's critical that you improve
your digital literacy abilities so that you can pass
them on to your students.
➢ This critical attribute implies that your school will
need to acquire and use computers and various
multimedia equipment to enhance learning to the
best extent possible. Training is also needed for
teacher-users as part of a bigger “technology plan.”
3. Global Classrooms
➢ By exposing pupils to the concerns of the area
and other countries, education in the 21st Century
aspires to build global citizens. As part of their
responsibilities as global citizens, they are urged to
react and respond to concerns.
➢ This critical attribute implies that teachers need
to include current global issues/concerns, such as
peace and respect for cultural diversity, climate
change, and global warming, in classroom
discussions.
4. Creating/Adapting to Constant Personal
and Social Change, and Lifelong
Learning
➢ Education in the 21st century subscribes to the
belief that learning does not only happen inside the
school and during one’s schooling years. Learning
can take place anywhere, anytime, regardless of
one’s age.
➢ This means that teachers should facilitate
students’ acquisition of KSAVs that go beyond
academics. Learning should take place not only for
the purpose of passing exams, but also for
transferring knowledge to real life situations. The
curriculum should be planned in such a way that
the students will continue to learn even outside the
school’s portals.
5. Student-Centered
➢ The focus of education in the 21st century is on
students as learners. It is custom-made to meet
each student's unique learning requirements.
Differentiated education, in which many student
aspects are taken into account when preparing and
delivering instruction, is common in 21stcentury
classrooms. As a teacher, you can create learning
environments that cater to a wide range of learning
styles, interests, needs, and talents in your class.
➢ This critical attribute implies that teachers should
act as facilitators of learning — not as “sages on
the stage” but as “guides on the side.” Learners
should be given opportunities to discover new
knowledge, learn with one another, and create their
own learnings.
6. 21st Century Skills
➢Education in the 21st century promotes the skills
needed to be productive members of today’s
society. It is not enough for students to learn the
basic skills of reading, writing, and numeracy, but
should develop in themselves skills that would help
them cope with life and work in 21st century
communities.
➢These skills include, among others, critical and
creative thinking skills, problem solving and
decision making, and ICT literacy and skills. As a
teacher, you are expected to possess these 21st
century skills before you can help your students
develop these skills.
7. Project-Based and Research-Driven
➢ The emphasis on data, knowledge, and
evidence-based decision making is one of the most
important characteristics of 21stcentury education.
To facilitate active learning, it largely focuses on
student-driven activities.
➢ This means that 21st-century teachers must be
well-versed in research in order to manage their
students' learning through self-directed activities
such as learning projects both within and outside
the classroom. Students' research-based efforts
can be seen in various scientific fairs throughout
Southeast Asia and the world.
8. Relevant, Rigorous and Real-world
➢ Education in the twenty-first century is
meaningful so it is focused on learners' real day-to-
day activities. It can be applied to current events
and provides the skills that students will need to
become productive members of the twenty-first
century.
➢ This critical attribute implies that topics are
taught using current and relevant information and
linked to real-life situations and context. As a 21st-
century teacher, you must up - to - date on current
trends, events, and challenges in your school,
community, and around the world in order for your
lessons to be relevant to your students' lives.
Newspapers, television and radio news, and the
internet are all good sources of updated and
relevant information.
PPT 2: GLOBALIZATION, CULTURAL, AND
MULTICULTURAL LITERACY
WHAT IS GLOBALIZATION?
 MANY EXPERTS FROM DIFFERENT
FIELDS SHARE THEIR IDEAS ON
GLOBALIZATION
ACCORDING TO JOSEPH E. STIGLITZ (2002)
“Globalization is the closer integration of the
countries and peoples of the world brought about
by the enormous reduction of costs of
transportations and communication, and the
breaking down of artificial barriers to the flows of
goods, services, capital, knowledge, and people
across borders.”
According to Held, et al (1999)
“Globalization captures elements of a widespread
perception that there is a broadening, deepening,
and speeding up of world-wide interconnectedness
in all aspects of life, from the cultural to the political,
the financial to the environmental.”
“Globalization can usefully be conceived as a
process(set of process) which embodies a
transformation in the spatial organization of social
relations and transactions, generating
transcontinental or interregional flows and networks
of activity, interaction and power.”
COLE (2018) he shared that according to
sociologist
Globalization is an ongoing process that involves
interconnected changes in economic, cultural,
social, and political spheres of society.
Culturally, it refers to the global spread and
integration of ideas, values, norms, behaviors and
ways of life. Politically, it refers to the development
of forms of governance that operate at the global
scale whose policies and rules cooperative nations
are expected to abide.
According to BECK (2000)
Globalization as a process through which
transnational actors undermine sovereign national
states varying prospects of power, directions,
identities, and network.
WHAT IS GLOBAL LITERACY?

WHY IS CULUTURAL LITERACY IMPORTANT?

WHAT IS CULTURAL LITERACY? (AND WHO

NEEDS IT?)

HOW DOES ONE BECOME MORE

CULTURALLY LITERATE?
WHAT IS MULTICULTURAAL LITERACY?

WHAT IS GLOBALIZATION AND

MULTICULTURAL LITERACY?

HOW ARE MULTICULTURAL AND GLOBAL

LITERACY INTERCONNECTED?
 China has preserved her literature as a continuous
and living influence up to the present time. A
striking example of this is that when the Chinese
republic was established in 1911, one of the songs
of the 24th century B.C. was adopted as the
national anthem.

And Mei Sheng, who died in 140 B.C. has been

called “The Father of Modern Chinese poetry.”

Qualifications for government positions were in

former times entirely based on literary proficiency,
largely a matter of memorizing the classics and
showing ability at poetic composition.

HISTORY OF CHINESE LITERATURE

 Ancient Chinese Literature (From
Beginning to 5th Century B.C.)
1. The Literature of Kings
- I Jing
- Shih Jing
- Shu Jing
TIPS TO FOSTER ENGAGING LEARNING - Li Jing
CULTURE - Chu’un Ch’i
In process of becoming part of the world, there is a - Yueh Jing
need to actively immerse yourselves in the different 2. The Philosophical Literatures
cultures of the world through meaningful learning - The Analects of Confucius
engagement. The following tips are suggested: - The Way of Life of Lao Tze
- Tales and Humors of Zhuang Zi
1. C –reate new circle of friends - Parables of Lie Zi
2. O-ffer time and resources
3. N-etwork ideas  II. The Literatures of Han, Wei, and Six
4. N-ote similarities and differences Dynasties (20 B.C. to 577 A.D.)
5. E-xplore opportunities 1. Han Dynasty verse essays
6. C-are for each other 2. Yuefu folk-songs
7. T-ransfer learning 3. Poems by Tao Yuanming
4. Selections of early ghost and fairy stories
5. Selections from “New Anecdotes of Social Talk”
6. Record of Buddhist countries
WORLD LITERATURE REVIEWER  III. The Literatures of Tang Dynasty (The
Golden Age of Poetry and short stories,
618 A.D. to 907 A.D.
PPT1: CHINESE LITERATURE  Li Po
 Du Fu
The literature of Ancient China is extensive and
 Bai Juyi
includes almost every form known. These are
histories, books of philosophy, lyrics, tales, dramas  Li Gongzuo
and letters. Much of the earliest literature is  Bai Xingjian
concerned with three of the four main religions of  Li He
China: Confucianism, Taoism and Buddhism.  IV. The Literatures of the Song and Yuan
Dynasties (960 A.D. to 1368 A.D.)
Philosophical literatures are centered on Tao-Te- - The Jade Worker
Ching (The Way of Life) attributed to Lao Tse or - The Honest Clerk
Lao-Tzu (604 B.C.) - Fifteen Strings of Cash
The book forms the basis of Taoism, the idealistic - The Hidden Will
and pacifistic Chinese religion of inaction.
 - The Two Brothers
- The Courtesan’s Jewel Box
- Marriage by Proxy
- The Alchemist and his Concubine
 V. The Literatures of the Ming and Qing
Dynasties (1368 A.D. to 1911 A.D.)

 VI. Contemporary Literatures

1. Lu Xun
- Selected Works (4 volumes)
 The Story of Ah
 Wild Grass
 Dawn Blossoms Plucked at Dusk
2. Lau She
- Camel Xiangzi (Novel)
- Dragon Beard Ditch (Play)
- Spring Flowers
- Autumn Fruit
- Teahouse (Play) CHINESE DRAMA
3. Mao Tun Songs and dances with gestures
- Spring Silkworms accompanied religious rites in China as early as the
- Midnight 6th century B.C. Chinese Drama.
4. Wu Jingzi These performances, however, appear to
- The Scholars have little contribution to the development of
5. Hong Seng Chinese Drama. The trade guilds were instrumental
- The Palace of Eternal Youth (Opera) in dramatic productions.
6. Shi Nai’an and Luo Guanzheng They built stages and presented
- Outlaws of the Marsh (3 vols.) performances for free. Powerful and wealthy
7. Lin Yutang individuals sponsored private performances. They
- My country and My people (2 vols.) had no curtain, no wings, and almost no properties.
- The Importance of Living Costumes were elaborate and expensive.
To compensate for the lack of properties and of
These classics were all written long before the realism, the actors had to be extraordinary skillful in
Christian era, and are contained in two sets of the portrayal of their roles.
books usually referred to as THE FIVE CLASSICS
and the FOUR BOOKS. EARLY CHINESE DRAMA
 Simple in construction but weak in plot.
 There’s no such thing as genuine tragedy,
no passion or emotional purgation (unlike
Greek drama).
 May be classified either as “military” or
“civil”
MEDIEVAL CHINESE DRAMA
 Most are anonymous.
 The most memorable dramatist known in
the 13th century was Wang Shih-Fu and 13
of his plays survive.
MEDIEVAL CHINESE NOVEL
 Obscure in its origin.
 Novels of usurpation and plotting
 Novels of love and intrigue
Novels of superstition
Novels of brigandage and lawlessness
EARLY CHINESE POETRY
 Passionate expression, irregular meter,
allusiveness and allegory.
 There was some rhythm, lines were varied
in length usually four or five syllables long.
After 600 A.D., the seven syllable line was
employed.
MODERN CHINESE DRAMA
 Huaju (spoken play)
 Started to develop in the early part of this
century in Shanghai.
 Different from traditional Chinese opera, it
soon won fans for its realistic portrayals of
the lives of the common folks and for its
wide ring works by Western playwrights like
Shakespeare, Moliere, and Chekhov.
 Since then, a number of Chinese
playwrights have created works that
realistically reflect the changes in the lives
of Chinese before and after the founding of
New China.
 The most memorable: Teahouse, The
Peking Man, The Thunderstorm, The
Family, The Prairie, and The Death of a
Famous Opera Performer.
 Younger playwrights have tried to develop a
more modern style, exploring the inner
psyche of personalities with more modernist
ideas, and incorporating more modern
theatrical techniques.
 Modern Chinese playwrights and
performers have to fight hard to attract
viewers away from pop music concerts,
variety shows and television programs.
SOME POPULAR PLAYS
 Catch the Wrong Train (Da Cuo Che) by
Taiwanese writer
 Family, The (Jia, 1942) by Ba Jin
 Guan Hanging by Tia Han
 Heroes of the Bush (Caomang Yingxiong)
by Yang Hansheng
 Huaihai Campaign, The (Huaii Zhanyi)
 Jesus, Confucius, and John Lennon (Yesu,
Kong zi, Pitou-shi
 Lienong, 1988) by Shanghai People’s Art
Theatre
 Longxu Slum (Longxugou) by Lao She
 Peach Blossom Fan, The (Taohua Shan) by
Ouyang Yuquian
 Qu Yuan by Gou Morou
 Rickshaw Boy, Camel Xiangzi, The (Luotuo
Xiangzi) by Lao She
 Sunrise (Ri Chu) by Cao Yu
 Teahouse (Chaguan) by Lao She
 Thunderstorm, The (Leiyu) by Cao Yu
CONFUCIUS (551 – 478 B.C.)
CONFUCIANISM is not a religion, for it is
silent on the subject of God and immortality; rather
it is a
philosophy of living, an ethical code and a political
doctrine. CONFUCIUS was really the person by
whom
the conceptions and standards of conduct
developed
by the Chinese through the preceding centuries
were
assembled and put into concrete form.
From the age 22 to the end of his life,
CONFUCIUS was a scholar and a teacher. He
collected the materials which constitute the FIVE
CLASSICS and thus became the FOUNDER OF
CHINESE LITERATURE.
KUNG FU-TZU - THE FOUNDER OF
CHINESE LITERATURE
THE ANALECTS OF CONFUCIUS
• The precepts of Confucius have been
handed down through the ANALECTS written by
his disciples.
• The only extant piece of writing done by
the master himself is the history of his province
which is one of the FIVE CLASSICS.
• His teachings were largely by word of
mouth and were recorded after his death.
• Confucius had no belief in anything
supernatural. He refused to discuss immortality of
the soul, but he created an earthly immortality for
the dead through the ancestor worship which
perpetuates their names and influence.
• The five cardinal principles of Confucius
were humanity, uprightness, decorum, wisdom
and truth.
• His great ideal was the prosperity of the
state and its government in such a way as to sere
the best interest of all its citizens.
• The desires of the individual were
completely subservient to the standards of the
family and state.
• Ardent emotion has no place in a
philosophy based on calm deliberation.
THE MASTER SAID…
• A plausible tongue and a fascinating expression
are seldom associated with true virtue.
• Let loyalty and truth be paramount with you. Have
no friends not equal to yourself. If you have faults,
shrink not from correcting them.
• Learning without though is labor lost. Thought
without learning is intellectual death. The old way of life has not entirely disappeared
• In mourning, it is better to be sincere than to be despite Japan’s tremendous change resulting from
punctilious. industrialization. Love of nature is very reflected in
• The faults of men are the characteristics of the ancient religion of SHINTO, and Japanese form
themselves. By observing a man’s faults, you may of BUDDHISM. Followers of SHINTO for example,
infer what his virtues are. worship the spirits of trees, rocks, mountains,
• The commander-in-chief of an army can be rivers, and other forces of nature.
carried captive, but the convictions of even the
meanest man cannot be taken from him.
• A youth should not be filial at home, respectful
abroad. He should be earnest and truthful. He
should overflow in love to all, but cultivate the
friendship of the good. Then, whatsoever of energy
may be left to him, he should devote to the
improvement of his mind.

A disciple asked for a definition of charity, THE

MASTER SAID… LOVE ONE ANOTHER!

Someone asked Confucius, “Master, what do you

think concerning the principle that good should be
returned for evil? THE MASTER REPLIED… What
then will you return for good? No, return good
for good; for evil, justice.
Having been further asked for a definition of
knowledge, THE MASTER ANSWERED… KNOW
ONE ANOTHER!
Characteristics of Japanese Literature
1. Japanese literature is voluminous.
2. Chinese characters occupy the most important
places in the alphabet
3. A large portion of the literary works was written
by women.

A disciple having asked for a rule of life in a word,

THE MASTER SAID… Is not Reciprocity that
word? What you would not want others should
Do unto you, Do not Unto Them.
-Herbert A. Giles

PPT2: JAPANESE LITERATURE

JAPAN – Land of the Rising Sun
Do you know why Japan is called The Land of the
Rising Sun?
- The Japanese flag is made up of a red
circle, symbolizing the sun (hinomaru),
against a white background. Because Japan
lies at the far West of the Pacific Ocean, the
sun rises spectacularly over the sea to the
East.
JAPAN: INTRO
Ancient Japanese chronicles and legends state that
the first emperor Jimmu Tenno ruled from 660
B.C. The first inhabitants of Japan may have been
the Ainu, a pale-skinned people. Families in Japan
used to be big but now smaller families are
common.
The cultural history of Japan is divided into three
periods: ANCIENT, MEDIEVAL, and MODERN.
During the Archaic period of the Ancient Age,
CHINESE SCRIPT was introduced in Japan by
Wani. The NARA period was the GOLDEN AGE of
Japanese court poetry.
NARA PERIOD
• During this period, lyric verses on nature, love and
death in the form of tanka and choka were written.
• The tanka has a very definite form. It is composed
of the five lines of 31 syllables (5, 7, 5, 7, 7
syllables on each line). The combination of five
and seven syllables is a basic Japanese rhythm.
• This period produced two important books: THE
KOJIKI (Records of Ancient Matters, 712 A.D.)
and THE NIHON SHOKI (Chronicles of Japan,
720 A.D.)
• In the second half of the 18th century,
MANYOSHU (Collection of Ten Thousand
Leaves), the first and largest anthology of
Japanese poetry was compiled.
MANYOSHU
• It contains 4516 poems; 262 are CHOKA or long
poems and the rest are TANKA.
• CHOKA is a narrative poem alternating five and
seven syllable line. Some Choka have 150 lines.
• The Choka is followed by a HANKA which is
similar to the envoy or envoi, a short concluding
stanza found in French ballad.
• HANKA has the form of TANKA.
 After Manyoshu, Japanese poets stopped
writing CHOKA, only the TANKA has
survived until today.
THEMES OF TRADITIONAL JAPANESE
POETRY
• Repressed love
• Sorrow of parting
• World weariness
• Apprehension by earthly evanescence
KOJIKI
• Contains the very first tanka composed by one of
the ancestors of the Japanese royal family.
• Is considered as the first history book of Japan.
• Prince Susa-no-wo-no Mikoto wrote this tanka
when his new palace was built for him and his wife:
Yagumatatsu Eightfold fence of Izumo
Izumo yaegaki Where eight clouds
rise
Tsumagomi ni I make an eight fold
fence
Yaegaki tsukuru To surround my wife –
Sono yaegaki o That eightfold fence!
HEIAN PERIOD
• This period was highlighted by the “Collection of
Ancient and Modern Poems” of the KOKINSHU,
completed in 905 A.D. by Imperial order.
• KOKINSHU, written in hiragana, contains a total
of
1,111 tanka.
• In the history of Japanese poetry, the prefaces of
Kokinshu which was written by Kio no Tsurayuki
served as a kind of declaration of independence
from
Chinese poetry.
• Great literary figures during this period were
mostly
women: Lady Murasaki Shikibu (Tale of Genji”),
Shei
Shonagon (“Pillow Book”) and Sugazawara
Takasue no
Musume (“Sarashina Diaries”)
• The Ryojin Hisho was compiled, a collection of
popular songs called imayo (modern-style
songs).
• Imayo has four lines, composing of alternating
lines of five and seven syllables. These imayo
were written by unknown poets for lower-class
audiences such as farmers, artisans and
merchants.
• In contrast, tanka were written by courtiers,
aristocrats, and priests.
8th – 9th CENTURIES
• Japan’s great “borrowing” ages in terms of
culture and civilization.
• During this period, China was the model of
Japan.
• The Japanese government sent official students,
priests, scholars, and artisans to study and learn
from China during the T’ang Dynasty (618-906).
• The T’ang Dynasty was China’s golden age and
China then was the most advanced nation in the
world. With the decline of the T’ang Dynasty, Japan
severed its relationship with China; thus, Japan’s
first “borrowing” age has ended.
KAMAKURA PERIOD
• The period which saw the rise of the Samurai
class.
• They meant “servants”, low in rank and even
regarded as uneducated.
• Gradually, they acquired political power because
they had weapons.
• During this period, renga (linked verse) became
popular, it is not just composed by a single person.
It
is a group poem; it required cooperative effort.
• A renga gathering is a social gathering.
• Renga composition is usually done by people
while
drinking and conversing.
• A renga has no plot but moves along a sequence
of
separated poetic images linked loosely by
association.
• There are two types of renga: Tan renga (short
linked
verse) and the other is kusari renga (chain
renga).
MUROMACHI PERIOD
• The period which continued renga-writing.
• While battles were waged in many areas in Japan,
warriors had renga parties and invited masters
while
fighting was still in progress.
• The shogum Ashikaga Yoshimasa was
composing
renga as Kyoto burned.
• Two prominent works: An Account of my Hut by
Komo No Chomei and Essays in Idleness by
Yoshida
Kenko.
TOKUGAWA PERIOD
• This period saw the emergence of three HAIKU
poets:
BASHO (1644-1694), BUSON (1716-1783), and
ISSA
(1763-1827).
• The HAIKU is also known as hokku and haikai.
• A haiku as defined by Haiku Society of America is
an
unrhymed Japanese poem recording the essence
of a
moment keenly perceived which is linked to human
nature.
• It usually consists of 17 Onji (Japanese sound-
symbols) in three parts of five, seven, five onji
each.
• Basho, who first developed the haiku said: “The
haiku is a matter of juxtaposition. A man who brings
two elements together and does it well is a skillful
poet.”. Most of his haikus are inspired by his
devotion to Zen Buddhism.
• Toriawase or juxtaposition means mixing or
putting two elements or images together.
-Example of Haiku by Basho (translated by R.H.
Blyth)
Umi kurete The sea darkens
Kamo no koe The voices of the wild ducks
Honokami shiroshi Are faintly – white
Analysis
• This haiku has one image of a darkening sea, and
to
his image, Basho added another image “the voices
of
the wild ducks are faintly-white.”
• The combination of two elements – the dark sea
and
faintly-white voices of wild ducks – succeeded in
bringing about a certain poetic effect: the
loneliness
of the seashore.
• Buson is the second best haiku poet after
Basho.
• He is a son of well-to-do farmer.
• Buson’s haiku are more colorful and
picturesque than Basho’s. He captured nature
with eyes of a painter.
Example of Haiku by Buson (translated by H.G.
Henderson)
Yellow rape in bloom;
In the west there is the sun
In the east, the moon.
Analysis: Rape flowers are brilliant yellow, typical
spring flowers in Japan’s country side. The time in
this haiku is afternoon in spring. The sun is setting
while the moon is rising.
HAIKU
• Kobayashi Issa, a son of a middle-class farmer,
was a contemporary of William Blake.
• Unhappy experiences led him to wander and his
sentiments are reflected in his haiku.
Most Important Books in Japan
 Kojiki - - Records of Ancient Matters
- about the creation of the world, gods and
goddesses and fact about the early history
of Japan
 Nihongi - -Chronicles of Japan
-composed of poetry that shows the
influence of Japan
TRIVIAS
Japan, is made up of 6,852 islands.
Japan, has the highest life expectancy in the world.
There are now over 55,000 Japanese people over
100 years old.
Sleeping at work in Japan is seen as acceptable as
it is viewed as exhaustion from dedication to one's
job.
Japan was once a closed country under Tokugawa
shogunate from 1633- 1853.
Did you know that Anne Hathaway, Ellen
Degeneres, Oprah Winfrey and Pamela Anderson
are fond of collecting and reading haikus?
POETRY
- can be written, spoken, or chanted, and some are - Black robes and masks worn by
written using Chinese Language doll-manipulators signify non-
Types of Poetry existence
1. WAKA – has the general meaning of - Doll manipulators are considered to
"poetry in Japanese” be invisible to the audiences.
2. HAIKU – 3 lines with a distribution of 5, 7,
and 5  Kabuki Play
3. KANSHI – poetry written in Chinese by  Very popular
Japanese poets  Less intellectual, more realistic and
4. TANKA - with five lines having a 5–7–5–7– sensational, the actions themselves are the
7 metre focus of attentions, not on realism or the
written words
SHORT STORY - - it is ambiguous because of
grammar and most topics are about gender, Contemporary Japanese Writers
religion and social status  Kawabata Yasunari
FOLKTALES - it has been influenced by foreign  Kawagihashi Hekigoto
literature in terms of their theme and topics  Kawatake Mokuami
 Hegiwara Sakutaro
Japanese DRAMA and POETRY
 Hayashi Fumiko
 Oe Kenzaburo

Poetry
 Favorite among Japanese
 Writing a poem is a required ability among
aristocratic
Drama
 Favorite form of entertainment Man’yoshu
 About history, tradition and lives of gods  Oldest collection of poetry
and goddesses  “Collection of Myriad Leaves
 Setting is always in Japan
Haiku
Types of Drama : Noh Play, Joruri or Puppet  Shortest form of Japanese poetry
Play, Kabuki Play  Seventeen syllables; three lines of five-
 Noh Play seven- five syllables
 National theatre of Japan  “Matsuo Basho” – Father of Haiku
 Reserved for the nobility  Topic is Nature
 Originated from the gods’ dance  1st and 2nd line- image & 3rd- conclusion
 Dramatic art from that has no special
settings except for a stylized painting of a Examples
pine tree which is a permanent feature of a A fat bee stings me,
Noh Stage. It hurts very badly but,
 Actors may wear or may not wear masks. I do not cry though.
The mask is considered as a highly refined
theatrical device. An old silent pond…
A frog jumps into the pond,
 Joruri or Puppet Play Splash! Silence again.
 Very popular
 Lifelike in size
 Type of chanted recitative that came to be
used as a script in bunraku puppet drama
 derived from the Jōrurihime monogatari, a
15th-century romantic tale, the leading
character of which is Lady Jōruri
o Bunraku - Gives life and soul to
inanimate dolls

Appreciating Japanese Poetry
 Haiku, the famous poem which originated in
Japan, evolved from Tanka, a 31 – syllable
poem in five lines of 5-7-5-7-7 syllables
respectively.
OKUJO NO KYOJIN – THE MADMAN ON THE ROOF
By Kan Kikuchi
Hiroshi Kikuchi (December 26, 1888 – March 6,
1948), known by his pen name Kan Kikuchi (which uses
the same kanji as his real name), was a Japanese author
born in Takamatsu, Kagawa Prefecture, Japan.
He established the publishing company
Bungeishunjū, the monthly magazine of the same
name, the Japan Writer's Association and both the
Akutagawa and Naoki Prize for popular literature.
He was also the head of Daiei Motion Picture
Company (currently Kodakawa Pictures). He is known to
have been an avid player of Mahjong.
His reputation as a versatile and prolific
author between World Wars I and II brought him the
unofficial title of BUNDAN NO AGOSHO or “Prince of
the Literary World”
Characters:
 KATSUSHIMA YOSHITARO, the madman,
twenty-four years of age
 KATSUSHIMA SUEJIRO, his brother, a
seventeen-year-old high school student
 KATSUSHIMA GISUKE, their father
 KATSUSHIMA OYOSHI, their mother
 TOSAKU, a neighbor
 KICHIJI, a manservant, twenty years of age
 A PRIESTESS, about fifty years of age
Setting:
Time: Meiji, in the Thirties (1900)
Place: an island off the coast of Sanuki in the Inland
Sea.
What is the original title of the drama?
The Madman on the Roof: Overview
● Original Title: The Housetop Madman (1916)
● Translated from the Japanese by Glenn W. Shaw
● Published by Hokuseido, Tokyo, 1925
The Madman of the Roof
• The Madman of the Roof is a Japanese play written in
1916. The conversation is written in a script or
dialogues and being played by actors and actresses.
• It is a short, funny story about a father who is This is absolutely a SHINGEKI play, yet there are several
concerned about his 24-year-old son, who climbs on the opportunities for the introduction of traditional
roof to watch the sunset. methods of production.

SHINGEKI play (New Drama) – based on modern

What is the plot of the drama?
Flow of Events
 Gisuke was trying to make his son, Yoshitaro, to
go down the roof.
 Gisuke ordered Kichiji, their servant, to get
Yoshitaro on the roof. Kichiji went outside to
get a ladder.
 Tosaku, their neighbor, entered the house and
noticed what was happening in the house. And
he recognized that it was Yoshitaro again on the
roof. Then Tosaku recommended a Holy woman
who could cure Yoshitaro.
 The encounter between the Holy
Woman/Priestess and Yoshitaro happened.
 The Holy Woman/Priestess started her healing
procedure.
 Suejiro entered and rescued his brother
Yoshitaro.
 Suejiro defended and reasoned out his
brother’s condition with their parents. The Holy
Woman/Priestess got out of the scene.
 Suejiro justified his brother’s side and condition.
 Their parents understood and accepted the
truth about their eldest son.
 Brotherly love prevails and made the family
unite and compromise.
realism.
In this KABUKI THEATRE, Earle Ernst points out
that supposedly realistic dramas given in Japan’s
Shingeki theaters may still be so heavily influenced by
the traditions of Noh and Kabuki that playing time is
almost doubled.
The mie, the dance, and other stylized methods
can be introduced in a variety ways. In a staging of the
Madman on the Roof, one can imagine the use of an
effective dance sequence in the scene of the priestess’s
incantations, or of the mie performed by the younger
brother when he breaks upon this scene.
In fact, Kikuchi Kan seems to prepare the way for the
mie when, in his stage instructions, he says that Sujiero
“stands amazed at the scene before him.
Mie
Powerful and emotional pose struck by an actor, who
then freezes for a moment, distinctive element of
aragoto Kabuki performance

Themes:
● Perception in Life ● Sanity ● Nature

Cultural Background
• Although this drama is brief, it gives considerable
insight into the life of the common people during a
period of social change.
• The dichotomy of generations is dramatized in the
conflict between the father and his younger son who
rejects religious superstition and speaks in behalf of
modern scientific methods.
• Nevertheless, an undercurrent of Zen thought may be
sensed in the concluding emphasis on the soaring spirit
of the “mad” elder brother and his apparent ability to
communicate directly with the gods.
 • Middle Blocker or Center Front (3): This hitter is
normally tall and able to block the other teams’
spikes.
• Outside (4): This is also called the Left Front.
This hitters is not necessarily tall, but powerful.
P.E REVIEWER BACK ZONE OR DEFENSE ZONE: Right back,
Center Back / Libero, Left Back
LESSON 3: Zones and Players in Volleyball Court • Players mainly play defense. When the other
HOW MANY PLAYERS IN VOLLEYBALL? team hits/ spikes or returnes the ball in any
form, the back row is mainly the recipient.
• A volleyball team is made up of 12 players, • these players focus on passing to the setter so
there are six players on the court and six that the ball can be st up to hit.
substitute players.
Libero
Positions in Volleyball • is a defensive specialist.
• this player typically wears sames jersey but it is
1. Setter/ Right Back
opposite the color that the entire team is
2. Right Front/ Opposite Hitter
wearing.
3. Center Front/ Middle Blocker
• the libero has special substitution previledges
4. Left Front
and is preferred to receive the team’s hit/ spike.
5. Left Back/ Outside hitter
6. Center Back/ Libero

Substitution Zone
• Limited by the extension of both attach lineups
to the scorer’s table.
ROTATION : CLOCKWISE

Zones and Positions in Volleyball LESSON 4: TERMINOLOGIES , RULES AND MECHANICS

1.FRONT ZONE/ ATTACK ZONE OF VOLLEYBALL
: HITTERS OF BLOCKERS
• Limited by the axis of • ACE: A serve that no player of the opposition
the center line and the team touches before it hits the ground. It
rear edge of the attack results in a point for the server.
line.
• Considered to extend • Antenna: the vertical rod along the outside edge
beyond the side lines of the net extending about 7m above the net to
to the end of the free indicate out-of bounds along the sideline. Any
zone. ball that touches the antenna is considered out.
FRONT ZONE : HITTERS OF
BLOCKERS
• Right Front(2): this
position is normally
played by the setter if
there are two setters
playing.
• ASSIST: Passing or setting the ball to a
teammate who attacks the ball for a kill. The
typical assist is a set, but generally, any ball
delivered by one player to a second player to
allow that second player to make a kill is an
assist.
• BACK SET: A set made when the player who is
setting the ball has his/her back toward the
hitter.
• BLOCK: The first line of defense where one or
more players successfully terminate a rall or
play in their favor stopping the ball from
travelling over the net. Typically the blocking
players jump in front of the opposing hitter at
the net to make contact with the ball in such
way that the ball lands inbounds on the
opposing hitter’s court or hits the opposing
hitter before falling out of bounds.
• BLOCKING ERROR: A violation that consists of
touching the net, crossing the center line,
blocking a set, or any other violation which
occurs while making a block attempt.
• BUMP: The use of the forearm to pass or set
the ball in an underhand manner.
• CENTER LINE: the boundary that runs under the
net and divides the court into two equal playing
areas.
• CROSS COURT: An angular shot made from one
side of the offensive team’s side of the court to
the opposite side of the defensive team’s side
of the court.
• DIG: The act of successfully receiving a ball.
Almost always the dig refers to the act of
recovering an attacked ball close to the court
floor.
• DIG PASS: Contacting the ball with the forearms
in order to deliver the ball to the setter in an
underhanded manner.
• DOUBLE HIT/ CONTACT : Successive hits made
by the same player. (ILLEGAL)
• FIVB: Federation Internationale de Volleyball or
International Volleyball Federation
• FLOATER: A serve with no spin that follows an
unpredictable path. Usually the ball arcs high up
at less that full speed and then, defying all laws
of physics, drops to the floor with the force of a
10-ton truck.
• FOUL: A violation of the rules which falls under
misconduct or unsportsmanlike conduct that is
called by a referee. If the referees don’t call it,
the player gets away with it; no different from
any other sport.
• FREE BALL: A ball that is delivered over the net
to the opposing team in a non- threatening
manner because the ball was hit more like a
pass rather than a spike.
• HELD BALL (CARRY) : A ball that comes to rest
for more than the maximum allowable time
period during contact resulting in a foul.
• HIT: To offensively strike the ball in an effort to
terminate the rally for a point. The hit can be
either overhand or underhand short so long as
the hit is made to terminate the rally.
• JOUST: The act of simultaneously making
contact with the ball by opposing players
immediately above the net.

• JUMP SERVE: One of the most feared serves in
all of volleyball when executed consistenly, the
jump serve involves the server tossing the ball
up and making contact with the ball as it falls by
jumping up in the air.
• KILL: A successful attack that terminates a play
or rally resulting in an immediate point or side
out by the team making the kill.
• LET SERVE: A legal serve attempt where the ball
makes contact with the net while still managing
to go over on the receiving team’s side of the
court. The game continues without stoppage.
• LIBERO: A player who can substitute into a
game freely in the back row for defensive
purposes, i.e. digging, passing. It required to
wear a striking and different color jersey, the
libero is prohibited from serving of attacking the
ball.
• LINE JUDGES OR LINESMEN: Officials located at
the corners of the court; each linesman is
responsible for ruling if the ball is legally in play
along the lines for which he/she is responsible.
• MIDDLE BACK: A defensive system that uses the
middle back player to cover deep spikes.
• MIDDLE HITTER/ BLOCKER (MH/MB): The
position on a team who is primarily responsible
for blocking. Middle hitters or blockers are
usually the tallest players on the team. Because
of their proximity to the setter, the middle
hitter usually receives most of the quick and
lower height sets.
• OFF SPEED SHOT: The act of spiking a ball with
less than maximum force but with spin.
• OUTSIDE HITTER (OH): The position on a team
who is normally responsible for attacking the
ball on the left side of the team’s side of the
court. These players usually get the most kills.
• PANCAKE DIG: As the ball falls toward the floor,
a player literally dives head first toward the ball
by stretching at least one arm to place his/her
palm on or near the floor and under the ball to
prevent the ball from touching the floor. The
hand is as flat as a pancake on the floor.
• PASS: The act of receiving and delivering the
ball to the setter. Technically a pass is made by
joining the arms from the elbows to the wrists
and making contact with the ball on the
forearms in an underhand motion to direct the
ball to the setter. The pass is considered the
most important fundamental element of
volleyball.
• RALLY: A continuous exhange of hit, pass or
attact between two teams.
• RALLY POINT SYSTEM: Scoring system wherein
the team that wins the rally gets a point and the
right to serve the ball.
• READY POSITION: The flexed, yet comfortable,
posture a player assumes before moving to the
point of contact.
• RED CARD: A severe sanction given by the first
referee.
• ROTATION: The collective clockwise movement
of players on a team round their side of the
court following side out. Each rotation
determines the identity of the server.
• SERVE: The act by one player to put the ball into
play. The serving player is usually identified by
the current rotation. When serving, the player
must be located in a designated area behind the
back line.
 • SETTER (S): The position on a team who is
responsible for delivering the ball to one of the
other players for an attack.
• SPIKER: The attacker or offensive hitter.
• SUBSTITUTION: Allows one player to replace
another player already on the court. Each team
is allowed 6 substitutions per game.
• YELLOW CARD: Warning given by the first
referee.
RULES AND MECHANICS OF VOLLEYBALL
• PARTICIPANTS
• SCORING SYSTEM
• PREPARATION FOR PLAY
• TEAM STARTING LINE UP
• COURT POSITIONS
• ROTATION
• SERVICE
• PLAYING THE BALL
• PLAY AT THE NET
• STOPPAGES
• DELAYS AND MISCONDUCT
RULES AND MECHANICS OF VOLLEYBALL
(PARTICIPANTS)
• Teams consist of maximum of 12 players.
• Since there must at all times be six players on
court, this means there can be up to six
substitute players available during the game.
• There can be three non- playing team members:
a coach, an assistant coach, and a trainer.
• Both the captains and coaches of each team
must sign the score sheet before the match.
• Once the score sheet is signed, the recorded
pLayers cannot be changed.
• The player who signs the score sheet as captain,
and who represents the team when the toss is
taken, is called team captain.
• At all times, a team must have a captain on
court.
• This person is called the game captain and is the
only player who is permitted to speak to the
match during the game.
• Other than the coach, only the game captain
can make request for time-out or substitution.
• This captain can also ask for requirement to be
checked or for the team’s positions to be
verified.
RULES AND MECHANICS OF VOLLEYBALL (SCORING
SYSTEM)
• Volleyball is normally played to the best five
sets.
• To win a game, a team must score 25 points
with a two-point difference. If they’re too
closely matched, the game can continue over
the 25-point maximum.
• The first team to gain three sets will win the
match.
• A point is scored when a team wins a rally.
• Every rally begins with a serve and ends when a
team wins a point.
• They do this in one of two ways. If your team
sends the ball over the net and the defending
team fail to return the ball, you score a point.
• You can also win a point if the other team hit
the ball out of the designated court boundary. If
a player on the other team makes a fault, it’s
also possible for your team to win a point.
• On the final deciding game of the match it’s
only played until 15 points, but the two-point
difference still applies.
RULES AND MECHANICS OF VOLLEYBALL
(PREPARATION FOR PLAY)
• THE TOSS
 Before the official warm-up, the first
referee carries out a toss in the presence
of the two team captains.
  the winner of the toss can choose whether
to serve or receive service, or can choose
on which side of the court the team
wishes to play.
 Whichever captain loses the toss chooses
the remaining alternative. If the set score
reaches 2-2, another toss is taken before
the fifth set.
• THE WARM UP
 In practice, players will be warming up for
some time before the match begins.
However, the final part of the warm-up,
just before the match starts, has a special
significance and is called the warm- up
session, or official warm up.
 Each teams gets five minutes in which to
play over the actual net. Although in
practice the to temas usually agree to
have a ten minutes warm-up at the net
together, rather take five minutes each.
• TEAM STARTING LINE-UP
 Before the start of each set, the coach of
each team must give to the scorer a
rotation slip on which the starting line-up
of the team is listed, in service order.
 Once this order is recorder on the score
sheet, it cannot be changed until the next
set.
 The only way a coach can change this
playing order is by making a legal
substitution.
 A team that refuses to play, or that is not
ready to play by the agreed time, is
declared in default and will lose the match
with a score of 15-0, 15-0, 15-0.
• COURT POSITIONS
• At the moment the ball is hit by the
server, and only at this moment, all the
other players must be standing on the
court and in their correct positions. If
this is not the case then the fault is
committed and the opposing team will
win the rally.
• Once the ball has been served, the
players may move anywhere and take
up any position on court or in the free
zone.
• ROTATION
 When the serving team wins a rally, it
scores a point and continues to serve.
 When the receiving team wins a rally it
gains the right to serve next and its
players must rotate, one position
clockwise around the court.
 In this way the players take turns to
serve and also to play in front or back
court.
• FAULTS
 When the wrong player serves (a
rotational fault), or when two or more
players are standing in the wrong
positions at the moment of service (a
positional fault), the team at fault must
be corrected.
 Also, if the team at fault has scored any
points while in the wrong rotation, all
such points should be cancelled.
RULES AND MECHANICS OF VOLLEYBALL (SERVICE)
• At the moment the ball is hit the server must
either be standing in, or have just jumped from,
the service zone.
• After hitting the ball the server may step onto
the court.
• The referee should whistle and signal for service
as soon as the player is ready to play.
• The server then has five seconds in which to
serve.
• Failure to do so is a fault and the team will lose
service.
• The service made before the referee’s whistle is
not a fault. It is cancelled and should be
repeated.
• At the moment of the service hit, or the take-off
for a jump serve, the server must not touch the
court including the endline or the ground
outside the service zone.
• SERVICE ATTEMPT
• If the ball, having been released during the
serving action, is allowed to land without
touching the server, then this is considered to
be a SERVICE ATTEMPT.
• In this case, the referee must again wistle for
service and a second, and final service action
can be made, for which the server is given an
additional three seconds only.
• SCREENING
• A player in the serving team may not
deliberately try to prevent the receiving team
players from seeing the served ball. A player
who waves his/her arm, jumps or moves around
in such a way that opponents are distracted is
guilty of the offense of screening.
• When the ball is served over such a player, the
team will lose service
RULES AND MECHANICS OF VOLLEYBALL (PLAYING
THE BALL)
• States of Play
• A rally begins and ends with the referee’s
whistle.
• The ball is in play from the instant the ball is hit
on service and is out of play as soon as the ball
lands or a fault is committed.
• The ball is in when it lands on the floor of the
playing court including the boundary lines. If
any part of the ball touches any part of a line it
is considered to be “in”.
• A ball which touches an antenna-- or which
would have touched an antenna had it
extended to the ceiling-- is also considered to
be “out” as is a ball which crosses completely
underneath the net.
• Playing Faults
• Any action contrary to the rules is a Playing
Fault.
• The consequence of a fault is the loss of the
rally.
• If two faults are committed by opponents at
exactly the same time, a double fault is called
and the rally must be replayed.
• Team Hits
• A team is allowed a maximum of three hits, in
order to return the ball over the net.
• For the purposes of this rule, any contact with
the block does not count as one of the team’s
three touches.
• A player cannot touch the ball twice
consecutively, i.e. the same player cannot make
the first and second (or second and third ) of
the team’s tree touches.
• There are exemptions to this,i.e., blocking and
first team contact. The same player can,
however make the first and third of the team’s
three hits.
• Assisted Hit
• A player cannot take support from any object or
person, including a team-mate, in order to
reach the ball. Thus, it is illegal, for example, to
climn on the post or to lift a team-mate when
playing the ball.
• This would constitute the fault of assisted hit.
• Simultaneous Contact
• When two opponents touch the ball over the
net at exactly the same time, this is called
simultaneous contact.
• When two opponents touch the ball at same
time over the net, the ball will often rest in the
hands of bothe players and sometimes a
pushing contest begins.
 • This then constitutes a Held Ball and a double be played back within the team’s three hits,
fault should be called. provided that the player does not touch the
opponent’s court.
• In this case a rally shall be replayed.
• Player Touching the Net
• Ball Contact
 Players are not normally allowed to touch the
• The ball may be touched by any part of the
net during the play.
body. Recent rule changes do not allow contact
with the feet and, although the intention • Blocker Reaching Over the Net
behinD the change was to allow more freedom
 In blocking , a player is allowed to reach
in defensive plays, there is no fault committed if
competely over the net and make contact
a player kicks the ball deliberately in an attempt
with the ball, but only if this does not
to play the ball.
interfere with the opponents’ attack.
• The ball must not be caught or thrown. If it is,
 Example: the opposing team has already
the fault of held ball is commited. This happens
made three contacts is possible, and so a
when the ball rests momentarily in the hands or
blocker would allowed to reach completely
on the arms or is pushed of lifted.
over the net and play the ball.
• The fault is sometimes call Carried Ball.
 Even after the first or second hit, however, it
• Ball Contact might be possible to block over the net-- but
only if, in the opinion of the referee, no
• The ball may contact more than one part of the
player from the attacking team could possibly
body provided that these contacts happen at
have reached the ball before it would have
the same time. If they are not simultaneous, the
crossed the net.
fault of Double Contact is committed.
RULES AND MECHANICS OF VOLLEYBALL (STOPPAGES)
• In fact, a player who touches the ball during a
block can legally make the next contact as well, • Substitution
since the block itself does not count as one of
 The act of exchanging two players.
the three permitted team contacts.
 One player comes off the court and is
RULES AND MECHANICS OF VOLLEYBALL (PLAY AT THE
replaced by someone from the team bench.
NET)
 A team is allowed to have up to six
• Ball CROSSING
substitutions per set, and it is possible to
 The ball must pass over the crossing space. replave more than one player at the same
This is the area above the top of the net and time.
between (but not including the antenna).
• Exceptional Substitution
 The ball is permitted to touch the net while
 A player who is injured and cannot continue
crossing it, except on service. The ball is also
should be legally substituted.
allowed to rebound from the net, in betwen
the vertical side markers, and be played  If this is not possible, the team is allowed to
again, provided the team has not already make an “Illegal” substitution-- in this case,
used its three permitted hits. called Exceptional substitution.
• A ball which has partially crossed the plane of • Time Out
the net, either underneath or outside the
crossing pace can be played back into court. • A team is entitled to request up to two time
Even f the ball has completely crossed the plane out per set. Each time- out immediately
of the net, outside the srossing space, it can still after the first.
 • During a time out, the players should leave arguing with the officials, trying to
the court and go to the team. intimidate opponents and so on.

• Injury  On the first occasion this happens, the

• If a serious accident occur then the referee
should stop play so that the injury can be
assessed. This rally is replayed.
referee will show the yellow- card and
this is called the misconduct warning.
2. Rude Contact

• Requests for Stoppages  This is more serious offense and results

in the award of a misconduct penalty
• Request for substitution or time-out may be
against the team member, shown by
made only by the coach or the game captain
the referee as in a card.
and only when the ball is out of play and
before the whistle for service.  When this happens, the player’s team
effectively loses a rally as a result.
• The request can made to either the first
referee or the second referee and, at the  If they were serving, service lost.
time of the request, the correct signal must
 If they were receiving service, the
be given by the coach or captain concerned.
opponents will score a point as a result
RULES AND MECHANICS OF VOLLEYBALL (Delays and of a red card being shown.
Misconduct)
3. Offensive or Aggressive Conduct
• Delays to the Game
 If a player makes physical attack on
 The actions of players that delay the another participant, or even an
game are sanctioned with delay intended aggressive act, the sanction is
warning and delay penalties: immediate disqualification.

 taking too long to make substitution  No previous warning is required and the
player concerned must leave the court
 not coming back on court immediately after
and the playing area for the rest of the
and end of a time out
match.
 not rolling the ball back at the end of the
rally.
LESSON 5: OFFICIALS IN VOLLEYBALL
• Misconduct
1. Referee
 Defined as any kind of personal
incorrect behavior towards the officials,
opponents or, or in some cases, even
team-mates.

 As with delaying the game, misconduct

is sanctioned by using the red and
yellow cards, but the similarity ends
there.

• Misconduct
2. Scorer
1. Unsportsmanlike Conduct

 this is the least serious offense, for

minor acts of misbehavior such as

Responsibilities of First Referee
3. Line Judges
1. First Referee (UP REFEREE)
• The first referee is the official that stands on
the referee stand (raised platform)
positioned at on the side of the court across
from the team benches.
• It is the first referee that starts play by
whistling and signaling (beckoning) the
server to serve the ball.
• The first referee is the official in charge. If
they feel it's necessary to do so, the first
referee has the authority to overrule any of
the other officials (second referee
scorekeeper, libero tracker, or line judges).
• Also, the first referee may have officials
replaced if it is needed.
• The volleyball referees should discuss
before the match on what the second
referee needs to signal to the first referee
(illegal ball handling, illegal back row and
blocks and attacks, etc.).
• Whistle any violations It is the first referees
responsibility to whistle any and all violations
they see. If possible, the second referee should
whistle net violations, centerline violations,
serve receive position faults, and serving order
violations. If the second official doesnt catch
these violations, the first referee has the
authority to make the call.
• Whistle player mishandling the ball. Only the
first referee has the authority to whistle ball
handling (lifts, double contacts, 4 hits, etc.). If
appropriate, the second referee may discretely
signal ball handling to the first referee.
• Giving Sanctions Only the first referee has the
authority to issue sanctions to players, coaches,
etc. (i.e. award yellow card and red card)
• Before the game begins, he takes the toss with
the two team captains, briefs te other officials on
their duties and controls the teams’ offical warm
up period of the net
2. Second Referee
• An assistant to the first referee but also has a
range or specific responsibilities.
• These duties are carried out standing at the
post on the opposite side of the net and facing
the first referee.
• Second umpire stands on the ground on the
opposite side of the court from the first
referee.
• He is responsible for checking that the
positions of the players on court correspond to
the official line- up sheet.

• The second referee is concerned with matters
such as keeping time, assisting the first
referee in making calls,administering
substitutions, and verbally communicating
with team coaches.
• The second referee also needs to
communicate effectively with the
scorekeeper and overlook the scorekeeper
with recording subs, timeouts, etc. The
second referee should help the scorekeeper
and libero tracker with any questions or
issues that come up.
• There are specific technical duties carried out
by the second referee:
Switching sides of the net. The second referee switches
positions one side of the net to the other during the
match, always staying on the side opposite the ball.
Watch teams for overlaps during the serve. Watch the
receiving team at the moment the ball is served for
overlaps.
Handles substitutions. The second referee administers
subs, making sure the subs are recorded properly on the
scoresheet. When the scorekeeper has finished
recording the subs, a hand signal is given to the first
referee signaling play is ready.
Handles time outs When a coach or team captain calls
time out, the second referee should blow the whistle
and signal time out. The second referee times the time
outs, whistles at the end of time, and signals how many
time outs have been taken by each team.
3. The Scorer
• They are responsible for filling in the match
score sheet as the game progresses.
• He sits at the scorer’s table located on the
opposite side of the court to, and facing the first
referee.
• This position directly behind the second referee
makes it easier for these two officials to
cooperate.
• Before the game begins, the scorer registers all
the match details- date, venue, teams etc. - on
the score sheets and obtains the signatures of
the captains and coaches.
3. The Scorer
• They are responsible for filling in the match
score sheet as the game progresses.
• He sits at the scorer’s table located on the
opposite side of the court to, and facing the first
referee.
• This position directly behind the second referee
makes it easier for these two officials to
cooperate.
• Before the game begins, the scorer registers all
the match details- date, venue, teams etc. - on
the score sheets and obtains the signatures of
the captains and coaches.
4. Line Judges
• Stand about 2m away from each corner of the
court.
• They perform their duties by means of flag
signals.
• Their main duty is to signal whether the ball
land “IN” or “OUT” of the court.
• They also signal if they see a ball which has
been “Touched” on its way out of the court.
VIOLATIONS IN VOLLEYBALL
1. Centerline Violation
 Players are not allowed to cross the
centerline that divides the court in half.
 This commonly occurs after spiking or
blocking.
  This rule is made to prevent players from
crossing the line with their feet or legs as
opponents can land on their feet causing an
injury.
2. Game Delay
 If a team causes any unnecessary
interruptions or delays they will be given a
delay warning the first time and then a delay
penalty the second time by the referee.
7. Four Hits Violation
 In Volleyball, each team is only allowed to
touch the ball three times before sending it
over the net. If a team touches the ball fourth
time, the play will be immediately blown
dead.
 Blocks do not count as touches, so a team can
still hit the ball three times after deflecting off
a block.

3. Net Violation 8. Carrying or Lifting

 Players are not allowed to touch the net
during the rally.
 The most common occurence of this is during
a block when reaching over or a spike when
following through.
 When a player makes prolonged contact with
the ball rather than having it bounce off of
them.
 This commonly occurs with setters when they
throw the ball rather than push it.

4. Illegal Substitution . 9.Double Hit

 In most leagues, players can only exit and re-  When a player hits the ball twice in a row
enter the game once per set and must return
 If a team causes any unnecessary
to their original position.
interruptions or delays they will be given a
 If teams go over the allowed number of delay warning the first time and then a delay
substitutions or attempt to chance a penalty the second time by the referee.
returning player’s position, they will be
10. Rotational Fault
charged with illegal substitution.
 Occurs when a team rotates out of order.
5. Service Fault

 There are a few different ways service faults

can be called. LESSON 6: Volleyball Official Hand Signal
 If a team serves out of order, they will lose Hand Signals of Volleyball Referees or Umpire
the point automatically.

 Also if the server fails to serve the ball over

the net or in bounds.

 Foot Faults are another type of service fault

that occurs when the server steps on or over
the baseline before making contact with the
ball on a serve.

6. Attack Hit Fault

 The first and most obvious penalty is hitting

the ball out of bounds.

 Also, players who are in the back row are not

allowed to attack a ball that is above the net
in front of the attack line.
Hand Signals for Line Judges