Instructional Planning

(The process of systematically planning, developing, evaluating and managing the instructional
process by using principles of teaching and learning - D.O. 42, s. 2016)

Detailed Lesson Plan (DLP) Format

Learning Area:
DLP No.: Grade Level: Quarter: Duration: Date:
9 ENGLISH 8 1ST 60 June 20, 2017
Learning Competency/ies: Code:

Describe notable literary genres contributed by African writers. EN8LT-Ic-8

EN8LT-Ic-2.2
Explain how the elements specific to a genre contribute to the theme EN8LT-Ic-2.2.1
of a particular literary selection. EN8LT-Ic-2.2.2
(Taken from the Curriculum Guide) a. Express appreciation for sensory images used.
b. Explain the literary devices used

Key Concepts / Understandings to a. Sensory Images.

be Developed b. Literary Devices.
Adapted Cognitive
Domain Process Dimensions OBJECTIVES:
(D.O. No. 8, s. 2015)

Knowledge Remembering
The fact
or condition of
knowing something
with familiarity gained 1. Discuss the different genres of African Literature.
through experience Understanding
or association 2. Explain the sensory images in the given text
Skills

The ability and

capacity acquired Applying
through deliberate,
systematic, and
sustained effort to Analyzing
smoothly and
adaptively carryout Evaluating Identify the theme of the story relative to the elements of the short story.
complex activities or
the ability, coming
Creating
from one's
knowledge, practice,
aptitude, etc., to do Share insights or life lessons that one can learned from the story " The Frog Hunt" from the
Attitude Valuing
something country Zaire.

Values Valuing MAKA-TAO: Demonstrate the importance of values cooperation and independence.

2. Content " The Frog Hunt" (An African folktale from Zaire)
 Book, Internet, video clips
Materials: Handouts, Meta cards, manila paper, markers, Scotch Tape
Instructional Tool: computer/laptop/netbook, LCD/DLP Projector

African Literature
https://www.infoplease.com/encyclopedia/literature-and-the-arts/literature-in-other-modern-
3. Learning Resources languages/miscellaneous-world-literature/african-literature

"The Frog Hunt" https://books.google.com.ph/books?

id=qGmTn2jZQqQC&pg=PA194&lpg=PA194&dq=The+Frog+Hunt+
(Zaire)&source=bl&ots=XhVHO1nE-y&sig=-
o2XwjrsOZLZWCA_78ItW1HCJaE&hl=en&sa=X&ved=0ahUKEwjG_dK2ycTUAhXFjLwKHQ-
1AzwQ6AEILDAB#v=onepage&q=The%20Frog%20Hunt%20(Zaire)&f=false
4. Procedures
4.1 Introductory Activity

Greetings, checking of attendance, and other classroom management activity.

Say: The African Literature are works of the people in African Continent. Today, we are going to study what
is African Literature and it's genres. I will give you few minutes to read the article silently, then we shall
discuss and analyze the article together.

Distribute copies of the Reading Text," African Literature". Allow the students to read the text silently.

After the given time, let the students listen as the teacher reads the article; the students will follow silently.

DISCUSSION:
a. Describe briefly the development of African Literature.
10 minutes b. What is Oral Literature?
c. What genres of African Literature are mentioned in the article?
d. How do African writers used their literature to express their emotions and feelings?
e. Explain the role played by music in African Literature.

Discuss the article further. Give emphasis on the following:

a. Oral literature, including stories, dramas, riddles, histories, myths, songs, proverbs, and other expressions,
is frequently employed to educate and entertain children
b. Contemporary African literature reveals disillusionment and dissent with current events.
c. The weaving of music into the Kenyan's play points out another characteristic of African literature.

4.2 Activity
Say: Let me give you another input about African Literature. This time, we are going to read the story, "The
Frog Hunt"
7 minutes
*Reading of the Story

4.3 Analysis SEQUENCING OF EVENTS

a. Arrange the given events to get the summary of the story.
THE ACTITUDE ANALYSIS STRATEGY
b. Introduce the Actitude Analysis Strategy.
c. Let the students accomplish the Actitude Analysis.

10 minutes

4.4 Abstraction

Introduce Imagery as literary device used in the story. Ask students to identify some situations in
the story that appeals to Imagery such as sense of sight, sense of smell, sense of touch, sense of
hearing and/or sense of taste.

Lead the discussion to the elements of the story focusing on the theme and conflict of the story.
 Introduce Imagery as literary device used in the story. Ask students to identify some situations in
the story that appeals to Imagery such as sense of sight, sense of smell, sense of touch, sense of
hearing and/or sense of taste.
5 minutes
Lead the discussion to the elements of the story focusing on the theme and conflict of the story.
4.5 Application
Let the students identify the conflict in the story. Let them create a graphic organizer showing how the conflict
10 minutes shaped the course of the story and how it was resolved.

4.6 Assessment
EXAMINE THE THEME:
1. What is the theme of the story?
2. What ideas lead you to identifying the theme?
3. How is the theme of story similar or different from the other themes of
Anlysis of Learners' Products
dramas/movies you have watched on television?
4. How does the theme affect you as a person?
10 minutes 5. Are you able to relate an experiences, a thought or a personal feeling with
the story? Explain your answer.

4.7 Assignment
Preparing for the new lesson What is outlining? What the types of outline?
3 minutes
4.8 Concluding Activity
Ask for 2-3 students to share their favorite part of the story and why?
5 minutes
5. Remarks
6. Reflections
A. No. of learners who earned 80% in the C. Did the remedial lessons work? No. of learners who have caught up with
evaluation. the lesson.

B. No. of learners who require additional activities

D. No. of learners who continue to require remediation.
for remediation.

E. Which of my learning strategies worked well?

Why did these work?

F. What difficulties did I encounter which my

principal or supervisor can help me solve?

G. What innovation or localized materials did I

use/discover which I wish to share with other
teachers?

Prepared by:

Name: FAITH C. ECHAVEZ School: TAYUD NATIONAL HIGH SCHOOL

Position/
Designatio TEACHER 1 Division: CEBU PROVINCE
n:
Contact
09173053510 Email address: theophanyfaith@gmail.com
Number:
 Instructional Planning
(The process of systematically planning, developing, evaluating and managing the instructional
process by using principles of teaching and learning - D.O. 42, s. 2016)

Detailed Lesson Plan (DLP) Format

Learning Area:
DLP No.: Grade Level: Quarter: Duration:
10 ENGLISH 8 1ST 55
1. Skim to determine key ideas.
Learning Competency/ies: 2. Generate ideas and their relationships. Code:
3. Organize ideas in one-step word, phrase and sentence outline
forms 1. EN8SS-Ic-1.5.1
(Taken from the Curriculum Guide) 2. EN8WC-Ic-1.1
3. EN8WC-Ic-1.1.6
1. skimming
Key Concepts / Understandings to
2. generating ideas
be Developed
3. organizing ideas in phrase outline form
Adapted Cognitive Process
Domain Dimensions (D.O. No. 8, s. OBJECTIVES:
2015)
condition of knowing Remembering Identify some points to remember in generating ideas through skimming.
something with
familiarity gained Understanding Summarize an article using key words and phrases.
acquired through
deliberate, systematic, Applying Convert a reading selection to an outline.
and sustained effort to Analyzing
smoothly and adaptively
carryout complex Evaluating
activities or the ability, Creating
coming from one's
Attitude Valuing Display enthusiasm while doing the tasks.
Values Valuing
2. Content Skimming; Relationship of Ideas; Phrase Outline
3. Learning Resources
4. Procedures A. Greetings, checking of attendance and other classroom management activity.
4.1 Introductory Activity
5 minutes B. Ask: “Do you still remember how to read swiftly, so you can get much information quickly?”
4.2 Activity A. The teacher discusses about skimming by explaining to the students the different points to remembe
10 minutes getting the major ideas in the text without having to spend so much time on the reading.
4.3 Analysis A. Ask: How do you prepare a reading outline?
15 minutes
Sentence
B. The teacher Outline-lists complete
gives a lecture sentences
on outlining specifically phrase outlining. Explaining to them the different
4.4 Abstraction
Topic Outine-arranges your ideas hierarchically (showing which are the main points and which are t
5 minutes subpoints), in the sequence you want, and shows what you will tlk about.) (https://app.shoreline.edu>H
4.5 Application
Ask the students to outline “Africa: Celebrations of Cultural Revival”
5 minutes
4.6 Assessment
Anlysis of Learners' Products Have the students convert a certain issue they have just read to a phrase
10 minutes Individual
outline. Activity:
4.7 Assignment Reinforcing / strengthening
3 minutes the day’s lesson Have them pick a story of their interest and convert it into a topic outline.
4.8 Concluding Activity Change is inevitable.
2 minutes
5. Remarks Indeed, history has the biggest role in the literary development of a country.
6. Reflections
A. No. of learners who earned 80% in C. Did the remedial lessons work? No. of learners who
the
B. evaluation.
No. of learners who require have caught up with the lesson.
D. No. of learners who continue to require remediation.
additional
E. Whichactivities for remediation.
of my learning strategies
F. What difficulties
worked well? Why did didthese
I encounter
work?
which
G. Whatmy innovation
principal ororsupervisor
localized can
help me solve?
materials did I use/discover which I wish
to share with other teachers?
Prepared by:
Name: MARITES M. CABARUBIAS School: TAYUD NATIONAL HIGH SCHOOL
Position/
Designatio TEACHER 1 Division: CEBU PROVINCE
n:
Contact
09255824581 Email address: marxiaoiezm3253@gmail.com
Number:
 Date:
June 21, 2017

Code:

1. EN8SS-Ic-1.5.1
2. EN8WC-Ic-1.1
3. EN8WC-Ic-1.1.6

gh skimming.

t activity.

h information quickly?”
the different points to remember in
e on the reading.

Explaining to them the different points

the main points and which are the
t.) (https://app.shoreline.edu>HTML)

e they have just read to a phrase

nd convert it into a topic outline.

ntry.
NATIONAL HIGH SCHOOL

CEBU PROVINCE

aoiezm3253@gmail.com
 UNDERTAKING

The undersigned members of the LRMDS LESSON PLAN HARVESTING PROGRAM

Team hereby attest to the authenticities and veracity of the harvested plan as the true and
original work of FAITH C. ECHAVEZ, from TAYUD NATIONAL HIGH SCHOOL, TAYUD,
CONSOLACION, CEBU and that the Team thoroughly ascertained that no law, particularly
the Intellectual Property Law and other related legislations, orders and regulations have been
breached and/or violated by the writer.

Further, that the TEAM take full responsibility of any breach/violation that will
hereinafter maybe discovered and shall take immediate corrective measures upon its
discovery.

Signed in the Municipality of CONSOLACION, Cebu, Philippines, this 29TH day of

JULY , in the year of our Lord Two Thousand Seventeen.

English Asst. Coordinator

EMILIA S. IBONES
District English In-charge

Chairman:

VIOLETA A. GONZAGA
Public School District Supervisor
 TAKING

DS LESSON PLAN HARVESTING PROGRAM

eracity of the harvested plan as the true and
AYUD NATIONAL HIGH SCHOOL, TAYUD,
oroughly ascertained that no law, particularly
d legislations, orders and regulations have been

nsibility of any breach/violation that will

mmediate corrective measures upon its

ACION, Cebu, Philippines, this 29TH day of

Seventeen.

Member

FRITZIE C. SORONIO
District English Coordinator

A. GONZAGA
District Supervisor
 THE FROG HUNT – SEQUENCING OF EVENTS
Arrange the given events in their proper order to get the summary of the story, “The Frog Hunt.”

_____1______ Long ago, there was a village near a large marsh. For years, the people fell asleep to the spring calls of
the frogs that lived nearby.
_____4______
All of the villagers grabbed their sticks and spears and ran out to kill the frogs, except for one old
grandmother who told the chief that what he commanded is wrong. She also added that the chief must
understand that “Everything is connected”. The chief did not understand what the grandmother said
and got angry with her. That night, the chief slept soundly because there were no frog songs heard.
_____6______ The next morning, the chief called all the villagers and commanded them to kill all the mosquitoes. Some
people half-heartedly obeyed the chief, while others went home and pack their things.
_____3______ The chief thought of ways to get rid of the frogs. He commanded all the people to kill
every frog in land threatening everyone that if they fail, they will be punished.
_____8______ The chief had no one to rule and realized the wisdom behind the old woman’s words, “Everything is
connected.”
_____2______ One night, the village chief woke up from a bad dream. He got up and drank water, when he lay down
again, he couldn’t get back to sleep because of the sounds but of the frogs.
_____5______
A few days later, the people heard another sound as darkness fell on the village. It was the mosquitoes’
sound! The mosquitoes swarmed over the village, biting all of the villagers and keeping them awake.
_____7______ However, there were more mosquitoes the next day, and more in the following days. Not only that the
people were suffering but also the animals. More people packed their things and leave the village. Soon
the village was empty.
Source: https://books.google.com.ph/books?id=qGmTn2jZQqQC&pg=PA194&lpg=PA194&dq=The+Frog+Hunt+(Zair
194&dq=The+Frog+Hunt+(Zaire)&source=bl&ots=XhVHO1nE-y&sig=-o2XwjrsOZLZWCA_78ItW1HCJaE&hl=en&sa=X&ved=0ahUKEwjG_dK2
 African Literature
(Source: https://www.infoplease.com/encyclopedia/literature-and-the-arts/literature-in-other-modern-languages/misce
world-literature/african-literature)

African literature, literary works of the African continent. African literature consists of a body of work in different lan
and various genres, ranging from oral literature to literature written in colonial languages (French, Portuguese, and E

Oral literature, including stories, dramas, riddles, histories, myths, songs, proverbs, and other expressions, is freque
employed to educate and entertain children. Oral histories, myths, and proverbs additionally serve to remind whole
communities of their ancestors' heroic deeds, their past, and the precedents for their customs and traditions. Essent
literature is a concern for presentation and oratory. Folktale tellers use call-response techniques. A griot (praise sing
accompany a narrative with music.

Some of the first African writings to gain attention in the West were the poignant slave narratives, such as The Intere
Narrative of the Life and Adventures of Olaudah Equiano or Gustavus Vassa, the African (1789), which described vi
horrors of slavery and the slave trade. As Africans became literate in their own languages, they often reacted agains
repression in their writings. Others looked to their own past for subjects. Thomas Mofolo, for example, wrote Chaka
1931), about the famous Zulu military leader, in Susuto.

Since the early 19th cent. writers from western Africa have used newspapers to air their views. Several founded new
that served as vehicles for expressing nascent nationalist feelings. French-speaking Africans in France, led by
Léopold Senghor , were active in the négritude movement from the 1930s, along with Léon Damas and Aimé Césair
French speakers from French Guiana and Martinique. Their poetry not only denounced colonialism, it proudly assert
validity of the cultures that the colonials had tried to crush.

After World War II, as Africans began demanding their independence, more African writers were published. Such wr
in western Africa, WoleSoyinka , Chinua Achebe , Ousmane Sembene , Kofi Awooner, AgostinhoNeto , Tchicaya u
Camera Laye, Mongo Beti, Ben Okri, and Ferdinand Oyono and, in eastern Africa, Ngugi wa Thiong'o , Okot p'Bitek
Jacques Rabémananjara produced poetry, short stories, novels, essays, and plays. All were writing in European lan
and often they shared the same themes: the clash between indigenous and colonial cultures, condemnation of Euro
subjugation, pride in the African past, and hope for the continent's independent future.

In South Africa, the horrors of apartheid have, until the present, dominated the literature. Es'kia Mphahlele ,
Nadine Gordimer , Bessie Head , DennisBrutus , J. M. Coetzee, and Miriam Tlali all reflect in varying degrees in the
the experience of living in a racially segregated society.
Much of contemporary African literature reveals disillusionment and dissent with current events. For example, V. Y.

The weaving of music into the Kenyan's play points out another characteristic of African literature. Many writers inco
other arts into their work and often weave oral conventions into their writing. p'Bitek structured Song of Iowino (1966
Acholi poem Achebe's characters pepper their speech with proverbs in Things Fall Apart (1958). Others, such as Se
novelist Ousmane Sembene, have moved into films to take their message to people who cannot read.
 AFRICAN LITERATURE
(Source : https://en.wikipedia.org/wiki/African_literature)

African Literature is literature of or from Africa and includes oral literature (or "orature", in the term
coined by Ugandan scholar Pio Zirimu).[1]

· As George Joseph notes in his chapter on African literature in Understanding Contemporary Africa,
whereas European views of literature often stressed a separation of art and content, African awareness is
inclusive:
"Literature" can be the part of Asian also imply an artistic use of words for the sake of art alone. Traditionally,
Africans do not radically separate art from teaching. Rather than write or sing for beauty in itself, African
writers, taking their cue from oral literature, use beauty to help communicate important truths and information
to society. Indeed, an object is considered beautiful because of the truths it reveals and the communities it
helps to build

Oral Literature
Oral literature (or orature) may be in prose or verse. The prose is often mythological or historical and can
include tales of the trickster character. Storytellers in Africa sometimes use call-and-response techniques to
tell their stories. Poetry, often sung, includes: narrative epic, occupational verse, ritual verse, praise poems of
rulers and other prominent people. Praise singers, bards sometimes known as "griots", tell their stories with
music.[3] Also recited, often sung, are love songs, work songs, children's songs, along
with epigrams, proverbs and riddles. A revised edition of Ruth Finnegan's classic book Oral Literature in
Africa was released by the Cambridge-based Open Book Publishers in September 2012.[4]

Precolonial Literature
Examples of pre-colonial African literature are numerous. Oral literature of west Africa includes the "Epic of
Sundiata" composed in medieval Mali, and the older "Epic of Dinga" from the old Ghana Empire. In Ethiopia,
there is a substantial literature written in Ge'ez going back at least to the fourth century AD; the best-known
work in this tradition is the Kebra Negast, or "Book of Kings." One popular form of traditional African folktale is
the "trickster" story, in which a small animal uses its wits to survive encounters with larger creatures.
Examples of animal tricksters include Anansi, a spider in the folklore of the Ashanti people of Ghana; Ijàpá,
a tortoise in Yoruba folklore of Nigeria; and Sungura, a hare found in central and East African folklore. [5] Other
works in written form are abundant, namely in north Africa, the Sahel regions of west Africa and on the Swahili
coast. From Timbuktu alone, there are an estimated 300,000 or more manuscripts tucked away in various
libraries and private collections,[6] mostly written in Arabic but some in the native languages
(namely Fula and Songhai).[7] Many were written at the famous University of Timbuktu. The material covers a
wide array of topics, including astronomy, poetry, law, history, faith, politics, and philosophy. [8] Swahili
literature similarly, draws inspiration from Islamic teachings but developed under indigenous circumstances.
One of the most renowned and earliest pieces of Swahili literature being Utendi wa Tambuka or "The Story of
Tambuka".

In Islamic times, North Africans such as ibn Khaldun attained great distinction within Arabic literature. Medieval
north Africa boasted universities such as those of Fes and Cairo, with copious amounts of literature to
supplement them.

Colonial African Literature

The African Colonial works best known in the West from the period of colonization and the slave trade are
primarily slave narratives, such as Olaudah Equiano's The Interesting Narrative of the Life of Olaudah
Equiano (1789).

In the colonial period, Africans exposed to Western languages began to write in those tongues.
In 1911, Joseph Ephraim Casely Hayford (also known as Ekra-Agiman) of the Gold Coast (now Ghana)
published what is probably the first African novel written in English, Ethiopia Unbound: Studies in Race
Emancipation.[9] Although the work moves between fiction and political advocacy, its publication and positive
reviews in the Western press mark a watershed moment in African literature.

During this period, African plays written in English began to emerge. Herbert Isaac Ernest Dhlomo of South
Africa published the first English-language African play, The Girl Who Killed to Save: Nongqawuse the
Liberator in 1935. In 1962, Ngũgĩ wa Thiong'o of Kenya wrote the first East African drama, The Black Hermit, a
cautionary tale about "tribalism" (discrimination between African tribes).

Among the first pieces of African literature to receive significant worldwide critical acclaim was Things Fall
Apart, by Chinua Achebe. Published in 1958, late in the colonial era, Things Fall Apart analyzed the effect of
colonialism on traditional African society. [10]
African literature in the late colonial period (between the end of World War I and independence) increasingly
showed themes of liberation, independence, and (among Africans in French-controlled territories) négritude.
One of the leaders of the négritude movement, the poet and eventual President of Senegal, Léopold Sédar
Senghor, published in 1948 the first anthology of French-language poetry written by Africans, Anthologie de la
nouvelle poésie nègre et malgache de langue française (Anthology of the New Black and Malagasy Poetry in
the French Language), featuring a preface by the French existentialist writer Jean-Paul Sartre.[11]

For many writers this emphasis was not restricted to their publishing. Many, indeed, suffered deeply and
directly: censured for casting aside his artistic responsibilities in order to participate actively in
warfare, Christopher Okigbo was killed in battle for Biafra against the Nigerian movement of the 1960s' civil
war; Mongane Wally Serote was detained under South Africa's Terrorism Act No 83 of 1967 between 1969
and 1970, and subsequently released without ever having stood trial; in London in 1970, his
countryman Arthur Norje committed suicide; Malawi's Jack Mapanje was incarcerated with neither charge nor
trial because of an off-hand remark at a university pub; and, in 1995, Ken Saro-Wiwa was hanged by the
Nigerian junta.

Postcolonial African Literature

With liberation and increased literacy since most African nations gained their independence in the 1950s and
1960s, African literature has grown dramatically in quantity and in recognition, with numerous African works
appearing in Western academic curricula and on "best of" lists compiled at the end of the 19th century. African
writers in this period wrote both in Western languages (notably English, French, and Portuguese) and in
traditional African languages such as Hausa.

Ali A. Mazrui and others mention seven conflicts as themes: the clash between Africa's past and present,
between tradition and modernity, between indigenous and foreign, between individualism and community,
between socialism and capitalism, between development and self-reliance and between Africanity and
humanity.[12] Other themes in this period include social problems such as corruption, the economic disparities in
newly independent countries, and the rights and roles of women. Female writers are today far better
represented in published African literature than they were prior to independence.

In 1986, Wole Soyinka became the first post-independence African writer to win the Nobel Prize in literature.
Previously, Algerian-born Albert Camus had been awarded the 1957 prize.