SPA - Course Outline

SPECIAL PROGRAM IN THE ARTS
COURSE OUTLINE

CREATIVE WRITING

FIRST YEAR

At the end of first year in Creative Writing, the students shall have developed the
following competencies:

FIRST GRADING PERIOD
1. Discover why people write, how writing differ with other skills
1.1 Recognize the forms/types of writing
1.2 Compare the forms/types of writing
1.3 Differentiate the purpose of writing
2. Organize ones thoughts to adopt to the appropriate writing style
2.1 Produce different types/forms of Creative writing
2.2 Write in journal entries reflective of gained insight
3. Write a mini-research employing the elements of a writing process
4. Write a well-organized theme/related topic

SECOND GRADING PERIOD
1. Appreciate Literacy genres
2. Distinguish the literacy division of Philippine Literature
2.1 Identify the dominant Spanish, American influence to Philippine
literature in related
2.2 Relate history of Philippine literacy genres

THIRD GRADING PERIOD
1. Compile legends, myths, folktales, ballad epic
2. Explain the characteristics of fables, legends, myths, epic, folktales & ballad

FOURTH GRADING PERIOD
1. Express appreciation of local legends, myths, ballads, folktales- as an
expression of the Filipino identity and pride as a nation

P1

CREATIVE WRITING

SECOND YEAR

At the end of second year in Creative Writing, the students shall have developed the
following competencies.

1. Communicate feelings, thoughts, wants, needs, using appropriate formal
styles
1.1 Express satisfaction/dissatisfaction over services rendered
1.2 Ask permission for an ocular visit/field trips
2. Write well-constructed paragraphs using appropriate modes of development to
express ones ideas, needs, feelings, attitudes
2.1 Write paragraphs on different types of essays- exposition,
description and narration
2.2 Write essays using the half-and-half point by point approaches to
descriptive writing
2.3 Write short definitions of concepts


1. Expand ideas in writing essays through the use of cohesive devices and
language structures
1.1 Write essays using appropriate transitional devices, referents


1. Identify Afro Asian short story as to elements and types of literary genres
2. Write reaction paper on short stories
3. Expand ideas by developing paragraphs into essays
3.1 Present main ideas of essays in the introductory paragraphs

FOUTH GRADING PERIOD

1. Demonstrate imagination and creativity in written from with emphasis on
descriptions, narratives in writing short stories
1.1 Develop main ideas through clearly expressed details, descriptions
and explanation
1.2 Write effective conclusions for essay

P2

CREATIVE WRITING

THIRD YEAR

At the end of third year in Creative Writing, the students shall have developed the


1. Demonstrate ability to choose the rhetorical pattern for expressing ones
thoughts, needs, opinions, feelings and attitudes
2. Demonstrate imagination in written form with emphasis on poetry
3. Learn the different poetic forms


1. Recognize the elements and types of poetry
1.1 Communicate feelings, thoughts using appropriate styles, types of
poetry
1.2 Demonstrate creativity in written form with emphasis on poetry
1.3 Recognize the elements of language employed in poetry
1.4 Express emotional reactions to what explicitly stated and implied
in a place of poetry
1.5 Appreciate poetry as a literary genre
1.6 Write a piece of poetry


1. Appreciate drama as a distinct literary form
2. Recognize the elements and types of drama
3. Deduce a worthwhile human experience underscore in English-American
drama
4. Pick-out the elements that distinguish drama as a literary form and be
able to explain dramatic devices


1. Appreciate Filipino cultural values and its similarities to or differences
from English-American values
2. React to the figurative language used in the selection
3. Express appreciation by staging local drama in collaboration with the
performing arts group.

P3

CREATIVE WRITING
FOURTH YEAR

At the end of fourth year in Creative Writing, the students shall have developed the

1. Acquire greater understanding in the elements, types, conventions,
Devices, techniques of a novel
2. Demonstrate creativity in written form with emphasis on writing novel
2.1 Write a novel review
2.2 Research on local novels written by Filipino/famous world novels

1. Show appreciation of the authors literary techniques and styles
particularly in novels written by Filipinos and famous world novels
2. Identify the values reflected in the novels
2.1 Explain the note of setting in relation to plot, character and
theme
2.2 Appreciate ones identity and cultural heritage
2.3 Determine the rhetorical functions and techniques used in the
novel

1. Write compositions using appropriate modes of development to express
ones ideas, needs, feelings and attitudes
2. Write a critique of a novel
2.1 Use a varied sentence structures to enhance clarity of ideas
2.2 Pick-out the elements that distinguish novel as a literary form
and explain dramatic devices

1. Demonstrate imagination in written form with emphasis on review of
novels
2. Deduce the themes from novels
3. Describe the various types of conflicts evident in the novel

Malikhaing Pagsulat sa Filipino
Sa Edukasyong Sekondarya

Ang Kawanihan ng Edukasyong Sekondari ay nanalig sa katotohanang may mga piling mag-
aaral na nagtataglay ng angking kakayahan at kasanayan sa ibat ibang uri ng sining. Ang
mga kasanayang ito ay nararapat malinang sa isang angkop na kapaligiran. Sanhi nito,
sumilang ang programang Special Program in the Arts na naglalayong mabigyan ng sapat
na pansin ang pagkatuto ng mga piling mag-aaral. Upang makahanay sila hindi lamang sa
pambansang kalagayan kundi tungo sa pandaigdigang pamumuhay. Salik ng programang
ito ang malikhaing pagsulat sa Filipino. Sa pamamagitan nito, inaasahang malilinang at
mapagyayaman ang kasiningan ng mga mag-aaral sa larangang Malikhaing Pagsulat.

P4

Layuning Panlahat

Tunguhin ng ispesyalisasyong Malikhaing Pagsulat sa Filipino ang makahubog
ng mag-aaral na nag-aangkin ng sapat na kaalaman at kasanayan sa larangan ng
makasining na paglikha ng ibat ibang akdang pampanitikan.

Mga Tiyak na Layunin

1. Matamo ang mga tiyak at angkop na kaalaman at malinang ang angking likas
na kasanayan sa Malikhaing Pagsulat.
2. Magtaglay ng kasanayan at kakayahang umunawa, magsuri,
magpakahulugan, at magbigay-halaga sa ibat ibang akdang pampanitikan na
makatutulong sa masining na paglikha;
3. Magtaglay ng sapat na nakasanayan at kakayahang magpahalaga sa mga
katutubo, panrehiyon, pambansa at pandaigdig na akdang pampanitikan;at
4. Makalikha nang buong kasiningan ng ibat ibang uri ng mga akdang
pampanitikan batay sa mga pampanitikang pamantayan.

Katawagan

Bilang tanging asignatura na pag-aaralang kasabay ng Filipino I- IV, isang
espesyalisasyong ito ay tatawaging Malikhaing Pagsulat sa Filipino I- IV. Ituturo ng araw-
araw sa loob ng 120 minuto.

Modelo

Narito ang Modelong susundin sa proseso ng pagtuturo at pagkatuto.

Mga Tiyak na kasanayan
Isinaalang- alang ang saloobin ang programang ito ang makalikha ng mga mag-aaral
na:
a. sanay magpahalaga sa mga akdang pampanitikan
b. sanay magsuri sa mga akdang pampanitikan
c. sanay magsuri sa mga akda
d. sanay sumulat/lumikha ng ibat ibang akda

Mga Aralin

Saklaw ng pag-aaral at pagkatuto sa ispesyalisasyong ito ang pangkabatirang
kaalaman tungkol sa mga basikong impormasyong may kaugnayan sa pag-unawa sa mga
akdang pampanitikan at ang mga istratehiya at pamamaraang salik sa pagtatamo ng
kahusayan sa masining na paglikha ng ibat ibang akdang pampanitikan.
Pinangkat ang mga aralin para sa tiyak na lebel ayon sa genre ng panitikan.

P5

MGA
BASIKONG
KAALAMAN
PAGSUSURI
BATAY SA TIYAK
NA TEORYA
PAGLIKHA
PAGTATAYA
Pangangailangan
Kasama sa pangangailangan upang makapasa sa ispesyalisasyong ito ang kalipunan
ng mga sariling akda (orihinal) sanaysay, bugtong, alamat, mito, pabula, tula, maikling
kwento, nobela, at dula. Sa Iloco Literature naman ay ang kalipunan ng mga buburtia,
daniw, sarsarita, nobela at drama. Tanghal tula at naman para sa mga manunulat sa
Ikaapat na taon.
Sandigan sa pagkatuto ang mapahalagahan at makilala ang mga akdang
pampanitikan at mailapat ito sa tiyak na kasanayan sa pagsulat.
Sa pag-aaral ng Malikhaing Pagsulat, kinakailangang maranasan ng mga mag-aaral
ang mga sumusnod:
i. Pagtiyak ng mga kaalaman
ii. Paglalapat ng mga mga kaalaman
iii. Pagtugon
iv. Paghahayag ng tigon
v. Pakikisangkot
Sa pamamagitan ng ganitong balangkas, matatamo ng maga mag-aaral ang ganap na
pagkatuto sa Malikhaing Pagsulat I-IV sa antas sekondarya. Mapalawak ng ganitong programa ang
natatanging kakayahan ng mga mag-aaral ng kanilang magagamit hindi lamang sa mga local na
kalagayan at paghahanapbuhay kundi maging simula tungo sa pandaigdigang kompetisyon.

Lawak at saklaw ng mga aralin
Sa malikhaing pagsulat sa lebel sekondari

Unang Taon
Unang markahan
1. Kahulugan ng Malikhaing Pagsulat
2. Layunin at Kahalagahan ng Pagsulat
3. Uri
3.1 Narativ
3.2 Deskriptiv
3.3 Ekspositori
3.4 Informativ
3.5 Argumentativ
4. Proseso ng Pagsulat
4.1 Bago Sumulat
4.1.1 Pagpapalabas ng ideya
4.1.2 Pagpili ng paksa
4.1.3 Pagkilala at babasa at layunin sa pagsulat
4.1.4 Pagbabalangkas
4.1.5 Paghahanda ng burador
4.2 Ang Pagsulat
4.2.1 Magandang simula
4.2.2 Maayos na pagpapalawak
4.2.3 Makabuluhang wakas
4.3 Pagrerebisa
4.3.1 Pagrerebisa ng mga kaisipang ipinahahayag
4.3.2 Pag-eedit para sa paggamit ng mga salita at pag-ayos ng mga
pangungusap
4.3.3 Pas-puprufid
4.3.4 Paglalahad ng mga isinulat

P6

IKALAWANG MARKAHAN

5. Batayang kaalaman sa panitikan
5.1 Pagpapakahulugan mula sa ibat ibang pantas
5.2 Tungkulin ng panitikan
5.3 Anyo ng panitikan
5.3.1 Tuluyan
5.3.1.1 Talambuhay
5.3.1.2 Anekdota
5.3.1.3 Parabula
5.3.1.4 Kwentong bayan
5.3.1.5 Maikling kwento
5.3.1.6 Sanaysay
5.3.1.7 Dula
5.3.1.8 Nobela
5.3.2 Tula
5.3.2.1 Liriko
5.3.2.2 Pasalaysay
5.3.2.3 Padula
6. Kasaysayan ng Panitikan sa Pilipinas
6.1 Bago dumating ang mga Kastila
6.2 Panahon ng pananakop ng mga Kastila
6.3 Panahon ng pananakop ng mga Amerikano
6.4 Panahon ng Kalayaan
6.5 Modernong Panahon

IKATLONG MARKAHAN

7. Katutubong akdang pampanitikan ng Pilipinas, ng Rehiyon at Lalawigan
7.1 Alamat
7.2 Kwentong-bayan
7.3 Pabula
7.4 Mito
7.5 Epiko
7.6 Awiting-bayan
7.7 KAtutubong tula
7.7.1 ambahan
7.7.2 tanaga

IKAAPAT NA MARKAHAN

8. Pagsusulat ng sariling likhang katutubong panitikan
8.1 Alamat
8.2 Kwentong-bayan
8.3 Pabula
8.4 Mito
8.5 Epiko
8.6 Awiting-bayan

9. Palalahad at pagsusuri ng mga isinulat na katutubong panitikan

P7

LAWAK AT SAKLAW NG MGA ARALIN

SA MALIKHAING PAGSULAT SA LEBEL SEKONDARI

IKALAWANG TAON
UNANG MARKAHAN
1. Pagkilala sa sanaysay bilang akdang pampanitikan
1.1 Porma
1.2 Istruktura
1.3 Elemento
1.4 Layon
1.5 Uri/ Paraan ng paglalahad
2. Pagsusuri ng mga tiyak na halimbawa ng sanaysay (batay sa tiyak na teorya at
dulog)
2.1 Klasismo
2.2 Humanismo
2.3 Realismo
2.4 Naturalismo
2.5 Imahismo
2.6 Pormalismo
2.7 Hermenyutiks
2.8 Eksistensyalismo
2.9 Dekonstruksyon
2.10 Istrakturalismo
2.11 Siko-analitika
2.12 Feminismo

IKALAWANG MARKAHAN
3. Pagsasaliksik at pagpapahalaga sa mga sanaysay mula sa rehiyon/ lalawigan o sanaysay
sa Filipino.
4. Pagsusulat ng mga halimbawa ng sanaysay
4.1 Pormal
4.2 Di- pormal
5. Paglalahad at pagsusuri ng mga sinulat na sanaysay

IKATLONG MARKAHAN
6. Pagkilala sa maikling kwento bilang akdang pampanitikan
6.1 Ugat ng maikling kwento
6.2 Kasaysayan
6.3 Elemento
6.3.1 Tauhan
6.3.2 Tagpuan
6.3.3 Tunggalian
6.3.4 Paningin/ Pananaw
6.3.5 Banghay
6.3.6 Kakintalan
6.4 Uri
6.4.1 Makabanghay
6.4.2 Pangkatutubong- kulay
6.4.3 Pangkapaligiran
6.4.4 Pangkaisipan
6.4.5 Pantauhan
P8

7. Pagsusuri sa mga tiyak na halimbawa ng maikling kwento (batay sa tiyak na teorya at
dulog)

IKAAPAT NA MARKAHAN

8. Pagsasaliksik at pagpapahalaga ng mga maikling kwento mula sa rehiyon/lalawigan
o maikling kwento sa Filipino.
9. Pagsusulat ng mga halimbawa ng maikling kwento
9.1 Makabanghay
9.2 Pangkatutubong- kulay
9.3 Pangkapaligiran
9.4 Pangkaisipan
9.5 Pantauhan
10. Paglalahad at pagsusuri ng mga isinulat na maikling kwento

LAWAK AT SAKLAW NG MGA ARALIN SA MALIKHAING PAGSULAT SA
LEBEL SEKONDARI

IKATLONG TAON

UNANG MARKAHAN
1. Pagkilala sa dula bilang akdang pampanitikan
1.1 Kasaysayan
1.2 Elemento
1.2.1 Tauhan
1.2.2 Tagpuan
1.2.3 Suliranin
1.2.4 Tunggalian
1.2.5 Usapan
1.2.6 Istraktura
1.2.6.1 May isang yugto
1.2.6.2 May tatlong yugto
1.2.6.3 Buong dula
1.3 Kategorya
1.3.1 Dulang Patula
1.3.1.1 Karagatan
1.3.1.2 Duplo
1.3.1.3 Balagtasan
1.3.1.4 Tibag
1.3.1.5 Senakulo
1.3.2 Dulang pasalaysay
1.4 Kumbensyon
1.4.1 Soliloquy
1.4.2 Monolog
1.4.3 Aside
1.5 Tradisyon sa dula
1.5.1 Komedya
1.5.2 Sarswela
1.6 Layon ng dula
1.6.1 Sosyolohikal
1.6.2 Historikal

P9

1.7 Mga dulang panrelihiyon
1.7.1 Senakulo
1.7.2 Tibag
1.7.3 Panunuluyan
1.8 Mga dula ng himagsikan
1.8.1 Kahapon, Ngayon at Bukas
1.8.2 Walang Sugat
1.8.3 Tanikalang Ginto
1.9 Mga Mandudula ng Himagsikan
1.9.1 Aurelio Tolentino
1.9.2 Juan Abad
1.9.3 Lope K. Santos

IKALAWANG MARKAHAN
2. Pagsusuri ng mfga tiyak na halimbawa ng dula(batay sa mga tiyak na teorya at
dulog)
3. Pagsasaliksik at pagpapahalaga sa mga dula mula sa rehiyon/lalawigan
4. Pagsusulat ng mga halimbawa ng dulag
4.1 May isang yugto
4.2 May tatlong yugto
5. Paglalahad at pagsusuri ng mga isinulat na dula(may pakikipagugnayan sa Theater
Arts)

IKATLONG MARKAHAN
5. Pagkilala, pagsusuri, at pagpapahalaga sa tula bilang akdang pampanitikan
5.1 Kalikasan
5.2 Anyo
5.2.1 May sukat at tugma
5.2.2 Malayang taludturan
5.3 Sangkap
5.3.1 Persona
5.3.2 Simbolo
5.3.3 Sukat
5.3.4 Tugma
5.3.5 Larawang- diwa
5.3.6 Talinghaga
5.3.7 Tayutay
5.3.8 Tono
5.3.9 Ritmo
5.4 Uri
5.4.1 Liriko
5.4.2 Pasalaysay
5.4.3 Padula
5.5 Tradisyon ng panulaan sa Pilipinas
5.5.1 Balagtisismo
5.5.1.1 Balagtasan
5.5.1.2 Batutian
5.5.1.3 Bukanegan
5.5.1.4 Crisotan
5.5.2 Mga unang makata
5.5.2.1 Ladino
5.5.2.2 Misyonero
5.5.5.3 Tagalog
P10

5.5.3 Mga tulang panrelihiyon
5.5.3.1 Pasyon
5.5.3.2 Dalit
5.5.4 Mga tula ng himagsikan
5.5.4.1 Mga tula ni Marcelo H. del Pilar
5.5.4.2 Mga tula ni Andres Bonifacio
5.5.4.3 Mga tula ni Dr. Jose Rizal
5.6 Pagbabago sa panulaan
5.6.1 Tradisyong Balagtas vs Modernismo
5.6.2 Realismo sa Panulaan
5.6.3 Romantisismo sa Panulaan
5.6.4 Sangkap sa Makabagong Tula
5.6.4.1 Ritmo
5.6.4.2 Tono
5.6.4.3 Diksyon
5.6.4.4 Padron
5.6.4.5 Talinghaga

IKAAPAT NA MARKAHAN
6. Pagsusuri sa mga tiyak na halimbawa ng tula (batay sa tiyak na teorya at dulog)
7. Pananaliksik at pagpapahalaga sa mga katutubong tula mula sa rehiyon/ lalawigan
8. Pagsusulat ng mga halimbawa ng tula
8.1 May sukat at tugma
8.2 Malayang taludturan

9. Paglalahad at pagsusuri ng mga isinulat na tula ( Maaaring gamitin ang pamamaraang poetry
reading)

LAWAK AT SAKLAW NG MGA ARALIN SA MALIKHAING PAGSULAT SA
LEBEL SEKONDARI

IKAAPAT NA TAON

UNANG MARKAHAN
1. Pagkilala sa nobela bilang akdang pampanitikan
1.1 Uri
1.1.1 Historikal
1.1.2 Sosyolohikal
1.1.2.1 Tradisyunal na lipunan
1.1.2.2 Nagbabagong lipunan
1.1.3 Pampamilya
1.1.4 Protesta
1.1.5 Digmaan
1.1.6 Pag- ibig
1.2 Elemento
1.2.1 Istruktura
1.2.2 Tunggalian
1.2.3 Tema
1.2.4 Tauhan
1.2.5 Suliranin

P11

1.3 Istruktura ng nobela
1.3.1 Pagsunod sa anda ng epiko
1.3.2 Pakikipag-kapwa teksto
1.3.3 Pagpapaliguy- ligoy
1.3.4 Paggamit ng dalawang oposisyon
1.3.5 Pangkapanitikan
1.3.5.1 Banghay
1.3.5.2 Simbolo
1.3.5.3 Talinghaga sa pahayag
1.3.5.4 Tauhan
1.3.5.5 Tunggalian

IKALAWANG MARKAHAN
2. Pagsusuri ng mga tiyak na ahlimbawa ng nobela ( batay sa tiyak na teorya at dulog)
3. Pagsasaliksik at pagpapahalaga sa mga katutubong nobel amula sa rehiyon/ lalawigan.

IKATLONG MARKAHAN
4. Pagsusulat sa sariling halimbawa ng nobela

IKAAPAT NA MARKAHAN
5. Pagpapatuloy ng pagsusulat ng sariling halimbawa ng nobela
6. Paglalahad at pagsusuri ng isinulat na nobela
7.Paglalathala ng nobelang isinulat

P12

SPECIAL PROGRAM FOR THE ARTS

Dance 1: D1
Philippine Folk Dances

Course Description:

Since early time people have danced to express ideas and feelings that are
significant in their daily lives. Dance has been integral to social, religious, ceremonial
and spiritual functions of many cultures throughout history. People create rhythmic
movements by stamping, shaking their bodies, chanting and other bodily expressions
with the use of natural accompaniment. All develop into dance by generally
perpetuating the movement and passing the tradition to the next generation. The
interweaving factors of rhythm into human beings created the dance and later became
a part of an established art from up to this time.

The SPA Dance I program will provide the first year dance majors with the
fundamentals of dance movement skills. It will encourage the students to explore and
discover dances in a meaningful way and will enable to express themselves through a
non-verbal means of communication. The subject will also assist the students with an
introduction to understanding rhythms as they learn specific Ilocano folk dances that
form the intangible cultural and artistic heritage of the region.
Moreover, students will develop their dance techniques and deepen their
spatial and kinesthetic awareness which are the internal feelings of the bodys
muscles and joints. The first year dance program will also enrich the students
appreciation of dance through critical reflection on Ilocano folk dances experienced as
a participant and as audience.

The different methodologies to be used are lecture- demonstration,video
presentation, group dynamics for production, internet exploration, seminar- type
dance instruction and practicum (individual and group learning). The requirements of
the course are performance, written outputs and portfolio evaluation.

General Objectives: At the end of the program, the students should be able to:

Cognitive

1. Integrate the different basic concepts and skills pertaining to dances
through rhythmic activities.
2. Accumulate and interpret a vocabulary of folk dance movement and
knowledge of the factors which influence movement.
3. Evaluate and recognize various Ilocano and regional dance performances
through a given criteria.
4. Analyze selected Ilocano folk dances in terms of costumes, historical
background, music and related significance to Philippine cultural heritage.

P13

Psychomotor
1. Demonstrate dance patterns with appropriate traditional form and style.
2. Apply the correct use of rhythm, tempo, meter, phrasing, dynamics and
accent in the performance of dances.
3. Execute a wide range of folk and ethnic body movements with
proficiency.

Affective
1. Instill love and pride for our rich Ilocano culture heritage and strive for
their preservation.
2. Experience fellowship and oneness of spirit which comes from
participation in activities.
3. Manifest values like discipline, order, stewardship and community-
building.
4. Display correct expression of feelings through folk dance.

The criteria for grading student performance is as follows:

Performance 50% (Class participation 20% & Practical tests 30%)
Written outputs 25% (Quizzes 10% and Periodical tests 15%)
Portfolio
Evaluation 25% (Outside School Performances and Projects)
100%

Course Outline
A. Orientation
Course Requirements
B. Introduction to dance
1. Historical Background of Dance and Rhythmic Activities
2. Functions of Dance
3. Characteristics of Dance
4. Fundamental Divisions of movements
4.1 Locomotor
4.2 Non- locomotor/ Axial
5. Dance forms
5.1 Different Dance forms
5.2 Basic Dance Exercises in Ballet, Ballroom, Folk, and Modern
Dances
C. Introduction to Philippine Folk Dance
1. History of Philippine Folk Dances
2. Examples of Philippine Folk Dances
3. Folk Dance Costumes
4. Folk Dance Terms
5. Basic Steps and Rhythmic Patterns Used
6. Fundamental Positions of the Arms and Feet
7. Basic Dance Steps
8. Dance Formations
9. Rhythmic Patterns Used in Folk Dances
P14

D. Learning of Selected Folk Dances
1. Cariosa
2. Jota Laoagea
3. Inalisan
*Other Ilocano folk dances will be studied when the need arises
*Topics to be discussed under each dance
1. Background/ origin
2. Costumes
3. Music
4. Equipment (if there is any)
5. Dance formation
6. Cultural traits


Dance Art

Course Description: Practical Course in Philippine Folk Dances with the emphasis on the
acquisition of knowledge and understanding of performance techniques through fundamental
skills. Influences of the present dynamic society to the Philippine Folk Dances are given due
importance for the young generations to value culture.

Course Objectives: At the end of the course the students are expected to:

1. Foster patriotism and nationalism through the study of our Philippine Folk
Dances,
2. Arouse better appreciation of Philippine Music and Folk Dances,
3. Provide a healthful form of relaxation and recreation through Folk
Dancing,
4. Develop a graceful and rhythmic and coordination of body movements in
order to improve posture,
5. Arouse further and sustain interest of students in Folk Dances,
6. Preserve for posterity Folk Dances and Music indigenous to the different
region of the Philippine Dances,
7. Acquaint the students with the culture of other people, through the study
of their dances, music, costumes, folk arts and crafts.
Specific Objectives:

1. Acquire skills in Folk Dancing,
2. Execute and distinguish the different Folk Dances steps, terms, movements,
step pattern and rhythmic patterns of Philippine Folk Dance steps,
3. Perform different Folk Dances,
4. Develop techniques and choreograph Folk Dances,
5. Analyze the costumes for the Folk Dances; and
6. Appreciate Philippine culture through Folk Dances.

P15

Course Outline:

I. Introduction

A. History and Origin of Folk Dance
B. Definition of Folk Dance
C. Fundamental Positions in dancing
1. arms
2. feet
3. combination of arms and feet
D. Characteristics of Philippine Folk Dances
E. Classifications of Philippine Folk Dances
1. geographical extent of origin
2. according to nature or kind
a. occupational dances
b. religious or ceremonial dances
c. courtship dances
d. wedding dances
e. festival dances
f. war dances
g. comic dances
h. game dances
3. According to intensity of movement
4. According to formations
5. Special classifications
a. dance with songs
b. old ballroom dances
c. dances with objects or implements
d. dances of combined rhythms
F. Factors that influence Folk Dance steps

II. Folk Dance Terms and Steps

A. Common folk arms movements and terms
B. Folk dance steps 2 time signature, step and rhythmic pattern
4
C. Folk Dance steps in 3 time signature, step and rhythmic pattern
4
D. Creative dance exercises and dance combinations

III. Philippine Folk Dances

A. Local Dances
1. Ilocano Folk Dances
B. Folk Dance Suites
1. Cordillera Dances
2. Maria Clara Dances
3. Rural Dances
4. Muslim Dances
5. Tribal Dances
P16

IV. Requirements

A. First Quarter:
1. Perform at least one (1) folk dance in proper attire, props and
accessories.
2. Submit an album or a folder that serves as an individual log book of
performances for portfolio assessment and evaluation.
3. Participation in class and school programs and activities

B. Second Quarter:
1. Stage at least one (1) folk dance in proper attire, props and accessories
2. Produce folk dance costumes and props
3. Compile and submit Ilocano Folkdance literature
4. Integration of make-up session as part of their personality
development

C. Third Quarter:
1. Participate in a mini-cultural show as an output in third quarter recital
2. Stage folk dances in proper costumes and props
3. Submit a documented descriptive album of performances from the
mini- cultural show
4. Purchase costumes for the mini performance

D. Fourth Quarter:
1. Participate in the grand graduation recital

V. Course Policies/Requirements

A. Code regarding attendance shall be followed
B. Dress Code: Tights and Leotards for girls and comfortable jogging pants
and sando for boys
C. Individual performance
D. Projects
E. Quarterly Recitals
F. Annual Recital (Grand Recital happens before the end of the fourth quarter
departmental examination)
VI. Grading System:

A. Performance 50%
1. Class Participation 20%
2. Practical Tests 30%

B. Written Outputs 25%
1. Quizzes 10%
2. Periodical Tests 15%

C. Portfolio 25%
(Outside school Performances and Projects)

P17

VII. References:

Amilbangsa, Ligaya Fernando. Pangalay: Traditional Dances and Related
Artistic Expressions. Makati: Filipinas Foundation, 1983
Bayanihan Instructional Video Series 1-5. Bayanihan Folk Arts Foundation
2002
Aquino, Francisca R. 1953-1975. Philippine Folk Dances Vol 1-6. Bureau of
Education. Manila, Philippines
Ines, Teresita P. Ilocano Folk Dances. Manila: National Bookstore, 1973
Sayaw. Dances of the Philippine Islands. Vol. 1-6

Villaruz, Basilio Esteban S. The Dances of ASEAN. 1998

Pamphlet

Ines, Teresita P. Folk Dance Terms and Steps

P18


Dance Art

Dance 3

Course Description: An introduction to modern/contemporary dance that organizes the
expressive movements in a certain characteristics ways in a time-space structure with emphasis
on the acquisition and understanding of performance techniques. As society is restructured
under the impact of far reaching world events, new ideas are seen worthy of expressions.

Course Objectives: At the end of the course, the students are expected to:
1. Express themselves individually,
2. Manipulate their body parts and convey these movements into ideas and
expressions correctly,
3. Experiment with the different techniques to compose a movement in forming a
dance,
4. Perform modern/ contemporary dance of different levels and themes,
5. Stage a dance in proper costumes, props, and make up.
6. Create simple write up and porters of the dance staged.

Course outline:
I. Introduction
A. Benefits of dance
Dancing nature
East and West
B. The Evolution of Dance
Contemporary Dance
Starting to dance
C. What makes a Dance a Dance?
Characteristics of a good dance
D. The Elements of Dance
Centering
Gravity
Balance
Posture
Gesture
Rhythm
Moving in Space
Breathing
E. Sequence of Workout
Floor work
Centre work
Moving in Space
F. Dance styles
Jazz
Lyric
Comic
Geometric

P19

II. The Process: Finding the Right Movement

A. Labans Classification of Movements

Body (What do I move?)
Space (Where do I move?)
Effort (How do I move?)
Relationship (To what or to who do I move with or respond to?)

B. Stimuli to dance

III. Choreography: Shaping and Designing the Dance

A. Elements of Choreography

Motif
Repetition
Variations and Contrast
Climax or Highlights
Transitions
Proportions and Balance
Unity

IV. The Finished Product: The Performance

A. Accompaniment

B. Costuming
C. Make-up
D. Lights
E. Rehearsals
F. Script
G. Performance

V. Requirements:

A. First Quarter

1. Perform two (2) creative lyric/jazz dances as part of their output in
the first quarter mini recital.
2. Create individual, dual and group performance as to exploration and
improvisation is concerned.
3. Stage and perform one (1) dance (it could either be jazz, folk, lyric,
comic or geometric) applying own choreography.
4. Construct a simple write-up about the idea of the dance formed.
5. Active participation and production of whatever appropriate props
the dance needs.

P20

B. Second Quarter

1. Perform and create two (2) experimental dance/avant-garde (dance
by chance) using improvisation
2. Create and produce appropriate costumes and props in an avant-
garde dance performance
3. Submit avant-garde or new age music as their accompaniment in their
chosen concept.
4. Make-up sessions will be integrated in the lesson twice in a month as
part of their personality development.
C. Third Quarter

1. Perform and crate two (2) neo-ethnic dances applying the elements
of dance and choreography.
2. Design posters and construct simple write-up about the dance
created.
3. Active participation of group activities and performance as part of
the interaction and recitation.
D. Fourth Quarter

1. Participate in the annual grand graduation recital.
2. Design, create and produce appropriate costumes, props and
accessories for the dance.
3. Submit posters and simple write up of the dance created.

VI. Course policies:
1. Code regarding attendance shall be followed.
2. Proper grooming and dance attires must be observed.
Tights and leotards/unitard and or any spandex material are allowed
provided that the dancer/student is comfortable and can move freely.
Hair should be neatly tied.
3. Separate notebook is needed in the course.
4. Each should provide an album or a folder as their log book to record
all performances for portfolio assessment and evaluation.

VII. Grading system:

A. Performance 50%
a. Class Participation 20%
b. Practical Test 30%

a. Quizzes 10%
b. Periodical Tests 15%

C. Portfolio 25%
(Outside school performances and Projects)

P21

VIII. References:

Bermudez, Antemio M. 2000. Dance Composition for Philippine School
and Colleges Ayans Publishing, Manila.

Bloom, Lynne Anne. 1988. The Technique of Doris Humprey and Its
Creative Potentials. Drinets Company, Publishers. Princeton, New Jersey,
USA.

Cohann, Robert. 1986. The Dance Workshop, A guide to the
Fundamentals of Movement.

De Milles, Agnes. 1963. The Book of the Dance. Western Publishing
Company. New York, USA.

Minton, Sandra C. 1997. Choreography: A Basic Approach Using
Improvisation, 2
nd
Edition. Human Kinetics. Illinois, USA.

Papas, Mery. Vyse Maureen, An Introduction to Rhythmic Sportive
Gymnastics. Boolarong Publications.

Pamphlets:

Alagde, Julie de Luna. Basic Modern Dance Movements. 2000.

Aguillar, Mynette del Rosario. Classifications of Movement. 2000.

Gabao, Larry A. Dance Composition (Creativity and Choreography). 2002

_____________. The Art of Teaching Dance : Philippine Context. October
2002.

P22


Dance Art

Dance 4

Course Description: An advance program to modern/ contemporary dance that
organizes the expressive movements in a certain characteristic ways in a
time-space structure with emphasis on the acquisition and understanding
of performance techniques with production. As society is restricted
under the impact of far reaching world events, new ideas are seen
worthy of expressions.

Course Objectives: At the end of the course, the students are expected to:
1. Express themselves individually,
2. Manipulate their body parts and convey these movements into
ideas and expressions correctly,
3. Experiment with the different techniques to compose a movement
in forming a dance,
4. perform modern/contemporary dance of different levels and
themes,
5. Stage a dance in proper costumes, props, and make up.
6. Create simple write up and porters of the dance staged.

Course Outline:

I. Introduction

A. Benefits of dance
Dancing nature
East and West
B. The Evolution of Dance
Contemporary Dance
Starting to dance
C. What makes a Dance a Dance?
Characteristics of a good dance
D. The Elements of Dance
Centering
Gravity
Balance
Posture
Gesture
Rhythm
Moving in Space
Breathing
E. Sequence of Workout
Floor work
Centre work
Moving in space

P23

F. Dance styles
Jazz
Lyric
Comic
Geometric

II. The Process: Finding the Right Movement

A. Labans Classification of Movements

Body (What do I move?)
Space (Where do I move?)
Effort (How do I move?)
Relationship (To what or to who do I move or respond to?)

B. Stimuli to dance

III. Choreography: Shaping and Designing the Dance

A. Elements of Choreography
Motif
Repetition
Variations and Contrast
Climax or Highlights
Transitions
Proportions and Balance
Unity

IV. The Finished Product: The Performance

A. Accompaniment
B. Costuming
C. Make-up
D. Lights
E. Rehearsals
F. Script
G. Performance

V. Requirements:
A. First Quarter
1. Perform two (2) creative lyric/jazz dances as a part of their output
in the first quarter mini recital.
2. Create individual, dual and group performance as to exploration
and improvisation is concerned.
3. Stage and perform one (1) dance (it could either be jazz, folk,
lyric, comic or geometric) applying own choreography.
4. Construct a simple write-up about the idea of the dance formed.
5. Active participation and production of whatever appropriate props
the dance needs.

P24

B. Second Quarter
1. Perform and create two (2) experimental dance/avant-garde
(dance by chance) using improvisation
2. Create and produce appropriate costumes and props in an avant-
garde dance performance
3. Submit avant-garde or new age music as their accompaniment in
their chosen concept.
4. Make-up sessions will be integrated in the lesson twice in a month
as part of their personality development.

C. Third Quarter
1. Perform and create two (2) neo-ethnic dances applying the
elements of dance and choreography.
2. Design posters and construct simple write-up about the dance
created.
3. Active participation of group activities and performance as part of
the interaction and recitation.

D. Fourth Quarter
1. Participate in the annual grand graduation recital.
2. Design, create and produce appropriate costumes, props and
accessories for the dance.
3. Submit posters and simple write up of the dance created.

VI. Course policies:
1. Code regarding attendance shall be followed.
2. Proper grooming and dance attires must be observed.
Tights and leotards/unitard and or any spandex material are allowed
provided that the dancer/student is comfortable and move freely. Hair should
be neatly tied.
3. Separate note book is needed in the course.
4. Each should provide an album or a folder as their log book to record all
performance for portfolio assessment and evaluation.

VII. Grading system:
A. Performance 50%
a. Class participation 20%
b. Practical Test 30%

a. Quizzes 10%
b. Periodical Tests 15%

C. Portfolio evaluation 25%
(Outside school performances and Projects)

P25

VIII. References:

Bermudez, Antemio M. 2000. Dance Composition for Philippine School and
College Ayans Publishing, Manila.

Bloom, Lynne Anne. 1988. The Technique of Doris Humprey and Its Creative
Potentials. Drinets Company, Publishers. Princeton, New Jersey, USA.

Cohann, Robert. 1986. The Dance Workshop, A guide to the Fundamentals of
Movement.

De Milles, Agnes. 1963. The Book of the Dance. Western Publishing
Company. New York, USA.
Minton, Sandra C. 1997. Choreography: A Basic Approach Using
Improvisation, 2
nd
Edition. Human Kinetics. Illinois, USA.

Papas, Mery. Vyse Maureen, An Introduction to Rhythmic Sportive
Gymnastics. Boolarong Publications.

Pamphlets:

Alagde, Julie de Luna. Basic Modern Dance Movements. 2000.

Aguillar, Mynette del Rosario. Classifications of Movements.2000.

Gabao, Larry A. Dance Composition (Creativity and Choroegraphy). 2002

_______________. The Art of Teaching Dance: Philippine Context. October
2002.

P26

Special Program in the Arts

Media Arts

Media Arts is the study of human communication through film, photography, video, audio,
computer/digital arts and interactive media. In this art form, students are trained to use
the elements of space, time, light, motion, color, and sound to express their perspectives,
feelings, and ideas creatively. Critically, they learn to interpret and evaluate media within
aesthetic, cultural, and historical contexts to become more enlightened consumers and
effective citizens.

Media Arts is aesthetic-based and uses elements and tools of current and emerging
technologies to create works that express feelings and ideas. Students in the Special
Program in the Arts are trained in photography, video and film.

Content Standards

Every learner shall:
Explore, generate and develop ideas and feelings through creating
media productions
Apply the media arts genres and their aesthetics to media production
Employ skills and techniques of a chosen medium.
Collaborate effectively in group media productions and presentations
Acquire knowledge of the genres, techniques, aesthetics in the media
arts
Utilize critical thinking skills in the study of media messages
Demonstrate understanding and respect for personal, cultural, and
historical contexts and the effects of media in shaping and extending
human communication
Experience presenting the media arts to a wider community
Actively participate as a discriminating consumer of the media arts to
maintain a healthy media environment
Demonstrate the skills of a become self-directed lifelong learner in
the media arts.

P27

Media Arts I

1. Explore, generate, and develop ideas and feelings through creating media productions

1.1 Sequence or group a series of images and sounds to tell a story or show their
relationship (ex. Series of photographs or creating a photographic collage)
1.2 Create images and sounds to represent a series of events of a particular media
genre

2. Apply the media arts genres and their aesthetics to media production

2.1 Identify the basic elements of time, space, sound, color, light, and motion and use
some of them in media arts productions
2.2 Choose among media elements to organize in expressive way to communicate an
idea or feeling

3. Employ skills and techniques of a chosen medium

3.1 Communicate information using effective presentation techniques incorporating
media equipment to deliver an oral or visual report.
3.2 Refine a range of skills and techniques in photography
3.3 Demonstrate skills in manipulating new and emergent digital technologies

4. Collaborate effectively in group media production and presentation

4.1 Actively listen to others and take turns, respecting the opinions, ideas, and needs
of other learners.
4.2 Participate in more than one defined role in a group production or a presentation
by serving as the camera person or the subject

5. Acquire knowledge of the genres, techniques, and aesthetics in the media arts.
5.1 Distinguish among types of media arts, by recognizing, for example, the
differences between film, video, and computer images.
5.2 Recognize techniques of a media production like dramatic use of lighting and
camera angles.
5.3 Identify the use of elements and principles of media arts in selected works and
productions
5.4 Recognize and use vocabulary specific to media art

6. Use critical thinking skills in the study of media messages.
6.1 Recognize the differences among media genres, identifying, for instance, the
differences between fiction and non-fiction.
6.2 Interpret and evaluate the intent of a variety of media messages

P28

7. Demonstrate understanding and respect for personal, cultural, and historical contexts
and the effects of media in shaping and extending human communication.

7.1 Describe how a media message relates to their own personal beliefs, values, and
needs,
7.2 Analyze and evaluate the influences on society of a variety of media messages

8. Experience presenting the media arts to a wider community.

8.1 Plan and present a photography exhibit in the community

9. Actively participate as a discriminating consumer of the media arts to maintain a
healthy media environment

9.1 Analyze the impact of technology on daily life and personal time management,
9.2 Identify and assess the ways in which consumers use media for various purposes

10. Demonstrate the skills to become self-directed lifelong learners in the media arts

10.1 Initiate media arts activity to pursue individual interests

P29

Media Arts II

1. Explore, generate and develop ideas and feelings through creating media productions

1.1 Express personal feelings or report information by producing works such as a
photograph
1.2 Identify and analyze personal strengths and weaknesses by selecting, justifying
and discussing their own at work.
1.3 Use subjects, themes, and symbols that demonstrate knowledge, context, values
and aesthetics that communicate intended meaning in media productions, using such
methods as camera placement

2. Apply the media arts genres and their aesthetics to media productions

2.1 Structure media productions by organizing media elements and applying media
processes
2.2 Manipulate a camera to create an original production that suggest elements such
as light and settings

3. Employ skills and techniques of a chosen medium.

3.1 Operate a camera that is appropriate for developing a given topic, or subject
using artificial lighting for creating a greater dramatic effect
3.2 Apply skills and techniques to media productions to communicate a specific
message or a particular point of view


4.1 Cooperate in a group to produce a media production.
4.2 Participate in more than one defined role in a variety of group media productions
4.3 Demonstrate the ability to lead or contribute significantly to group productions.

5. Acquire knowledge of the genres, techniques and aesthetics in the media arts

5.1 Demonstrate an understanding of the various genres in the media arts such as
documentary, narrative, comedy, news and experimental
5.2 Recognize the use of time, motion, space, light, color, sound and other aesthetic
properties of the media arts
5.3 Discover how qualities such as mood can be created by soundtrack, lighting, or
pacing
5.4 Demonstrate an understanding of the various production techniques like editing
techniques, shot types, lighting techniques

P30

6. Utilize critical thinking skills in the study of media messages

6.1 Use the verbal and visual vocabulary in media arts appropriately and articulately
6.2 Analyze and evaluate appropriateness and effectiveness of technical aspects of a
media production

7. Demonstrate understanding and respect for personal, cultural and historical contexts
and the effects of media in shaping and extending human communication.

7.1 Identify features of media productions that locate them in a time, place or
culture, by examining such aspects as their physical characteristics and subject
matter.
7.2 Show an understanding of the ways media products are made within particular
social, cultural and historical context


8.1 Analyze and evaluate the elements of an effective presentation using media
8.2 Plan, select, and modify media productions for particular occasions, taking into
account factors like purpose, space, materials, and equipment.

9. Actively participate as a discriminating consumer of the media arts to maintain a
healthy media environment

9.1 Judge the impact of various media messages on society, such as how violence is
portrayed in media productions

10. Demonstrate acquired skills to become self-directed lifelong learners in the media
arts.

10.1 Set a realistic goal and progress toward completion of a project
10.2 Develop strategies to organize and revise a media arts project

P31

Media Arts III


1.1 Develop a clear message for a particular audience through a video presentation


2.1 Use media elements and aesthetics to develop media productions appropriate to
one or more chosen style and genre.

2.2 Develop media productions that reflect sensitivity, commitment, and an
understanding of aesthetic considerations, by using elements such as sound or lighting
to enhance story developments or the characters emotional state.


3.1 Demonstrate basic technical skills necessary to complete works in one or more
media, using a digital camera to collect images, and then transferring the images from
a scanner to a computer to create a digital photomontage

3.2 Use skills and techniques in editing in various genres like in videotapes
3.3 Use modern technology to enhance artistic expression


4.1 Demonstrate flexibility with various roles in group productions, working in such
positions as an audio recorder, lighting director, and director in a variety of video
productions
4.2 Develop knowledge of media arts careers by evaluating their own skills

5. Acquire knowledge of the genres, techniques and aesthetics in the media arts

5.1 Understand the subjective and objective uses of the media arts.
5.2 Understand the purposes and functions of media aesthetics, such as visual
interest, determining a place or time, and creating a mood or atmosphere.
5.3 Demonstrate the ability to determine how the media elements used in productions
influence our perception
Example: use of color symbolism
How the editing of a film sequence can extend time or heighten excitement

P32


6.1 Analyzing and interpret the media messages
6.2 Reflect how media productions differ visually, spatially, temporally, and
functionally
6.3 Describe how these are related to history and culture
6.4 Critically reflect on meanings and values associated with particular media

7. Demonstrate understanding and respect for personal, cultural and historical contexts,
and the effects of media in shaping and extending human communication

7.1 Compare and contrast the ways images and sounds are represented and
interpreted by various cultures and groups in media productions

7.2 Evaluate how media promotes and influences belief and behaviors toward various
ethnic, gender, and disability groups


8.1 Rehearse, promote, and present media productions to evoke certain audience
responses
8.2 Experiment with different presentation formats

9. Demonstrate the ability to actively participate as a discriminating consumer of the
media arts to maintain a healthy media environment

9.1 Participate in a meaningful action or discussion concerning media decisions critical
to society
9.2 Demonstrate an understanding of commercial and legal issues related to media

10. Demonstrate the skills to become self-directed lifelong learners in the media arts

10.1 Demonstrate task and time management skills in daily and long-term media arts
projects
10.2 Seek out feedback for media arts projects and successfully integrate it to self
appraisal

P33

Media Arts IV


1.1 Use honest, original, vital images and sounds that are able to communicate ideas
with clarity, focus and confidence.
1.2 Demonstrate self-direction in choosing subjects and genres.
1.3 Explain their origins and value


2.1 Integrate media elements and aesthetics in an imaginative, skillful, and coherent
way in media productions.
2.2 Develop media productions that reflect sensitivity, commitment, and an
understanding of aesthetic considerations.


3.1 Integrate technical and structural elements to make a media production
3.2 Use abstract images produced by digital video effects to symbolize the change of
the emotional state in the videotape
3.3 Demonstrate the ability to experiment with unconventional ideas and techniques


4.1 Create a collaborative media arts production or presentation that illustrates a
shared aesthetic value.
4.2 Demonstrate the ability to initiate collaboration.

5. Acquire knowledge of the genres, techniques, and aesthetic in the media arts

5.1 Understand how various types of media differ in their approach to the same
techniques or genre
5.2 Decode media products in order to identify and examine to the cultural practices,
values and ideas contained in them


6.1 Use processes of critical analysis to support personal judgments of media messages
6.2 Describe the origins of specific images and ideas and explain why they are of value
in their own media productions and in the work of others

7. Demonstrate understanding and respect for personal, cultural and historical contexts,
and the effects of media in shaping and extending human communication

P34

7.1 Demonstrate the ability to apply knowledge of media arts history to their own
work
7.2 Research media productions and genres from a variety of past and present social
and cultural perspective
7.3 Show an awareness of how histories of media are constructed.


8.1 Use imaginative approaches that reflect a wide knowledge of the conventions of
rehearsing, promoting, and presenting media productions.
8.2 Seek additional exhibition opportunities at places such as art galleries, cable
programs, public libraries, the internet, or film festivals.

9. Demonstrate the ability to actively participate as a discriminating consumer of the
media arts to maintain a healthy media environment

9.1 Develop and execute a plan that works toward positive social change in the media
arts
9.2 Demonstrate an understanding of commercial and legal issues related to the
media

10. Demonstrate skills to become self-directed lifelong learners in the media arts

10.1 Apply their working process successfully to a wide variety of media arts projects
10.2 Explore career opportunities in the media arts.

P35


Media Arts II
Course Outline

First Quarter PowerPoint 2003 Essential

Overview
This course aims to provide the basic skills for creating and showing
presentations using Microsoft PowerPoint, and for creating and manipulating simple drawings
and charts.

Course outline

A. 1. Using the Application
A.1.1 First Steps with Presentations
A.1.2 Adjust Settings

A.2. Developing a Presentation
A.2.1 Presentation Views
A.2.2 Slides
A.2.3 using Design Templates
A.2.4 Master Slide

A.3 Text and Images
A.3.1 Text Input Formatting
A.3.2 Pictures (ie clipart)/Images (ie images files)
A.3.3 Duplicate/Move (ie Copy/Cut/Paste or Drag)/Delete

A.4 Charts/Graphs/Drawn Objects
A.4.1 Using Charts/Graphs
A.4.2 Organization Charts
A.4.3 Drawn Objects
A.4.4 Duplicate/Move (ie Copy/Cut/Paste or Drag) /Delete

A.5 Slide Show Effects
A.5.1 Preset Animation
A.5.2 Transitions

A.6 Prepare Outputs
A.6.1 Preparation
A.6.2 Printing
A.6.3 Deliver a Presentation

P36

Learning outcomes
ON completion students will have to practice using the main features of Microsoft
PowerPoint, including:

Creating and editing slides;

Formatting and manipulating text;

Creating animations and transitions;

Delivering a presentation.

Second and Third Quarter Microsoft Publisher, Fax Weaver, Paint and Picture
Manager

Overview

The Publisher takes users through the process of creating and modifying Professional-looking,
high quality publications for print media, e-mail, and Web. Users also learn how to
prepare their publications for desktop and commercial printing. Additionally, the course
teaches users how to convert print publications into Website publications and post them
on the Web.

B.1 Introducing Publisher 2003

B.1.1 Features and Benefits of Publisher

B.1.2 Publisher 2003 Interface Components

B.1.3 Customizing Publisher 2003 Interface Components

B.2 Managing Publications for Print, Web, and E-Mail

B.2.1 Designing a Publication for Print

B.2.2 Designing a Publication for Web and E-Mail

B.2.3 Creating a Publication from a Design Template

B.2.4 Printing a Publication

P37

Windows Picture and Fax Viewer overview

An image or picture is a photograph, line drawing, or text document converted to
digitized form, usually by a scanning device such as a digital camera, fax machine, or
scanner. You can download your images from the device and save them in a folder. After
downloading pictures to your computer, you can view them as a slideshow or view them
using Windows Picture and Fax Viewer.

Use Windows Picture and Fax Viewer to work with your images without having to open an
image editing application. If you store your picture files in the My Pictures folder, you see
the preview window automatically. Double-click an image to preview that image in
Windows Picture and Fax Viewer, where you can:

Scroll through the images in the folder.

Increase or decrease the image preview size.

View the image full size or as the best fit for your window.

Manage image files and print, save, delete, or change file details.

View a slide show of all your images, or select the set of images youd like to
view in a slide show

Open the image in an editing program if you wish. Note that this closes Windows
Picture and Fax Viewer.

Rotate images right or left by 90 degrees.

Microsoft Paint overview

Paint is a drawing tool students can use to create simple or elaborate drawings.
These drawings can be either black-and-white or colored, and can be saved as bitmap
files. They can print your drawing, using it for your desktop background, or paste it into
another document. They can even use Paint to view and edit scanned photos.

Students can also use Paint to work with pictures, such as .jpg, .gif, or .bmp files.
They can paste a Paint picture into another document theyve created, or use it as their
desktop background.

Acquire an image from a scanner or a digital camera
Common tasks
Draw curved line
Draw a freeform line
Draw a polygon
Draw a rectangle or square
Draw a straight line
Draw an ellipse or circle
Send an image using e-mail
Show or hide the toolbox
Undo changes
P38

Picture Manager Overview

Using Microsoft Office picture Manager allows students to have a flexible way to
manage, edit, and share pictures. They can view all the pictures no matter where
they are stored; the Locate Pictures feature will even help them find them by doing
the searching for you. Picture Manager can also automatically perform corrections to
pictures. If students ever need to adjust something more specific, they can choose
from several individual picture editing tools. Sharing pictures is more powerful using
Picture Manager, which allows them to send pictures in e-mail messages or create a
picture library.

How to transfer photos from camera to computer
My Pictures file
Overview of Microsoft Office Picture Manager software tools
Hands-on practice on basic editing functions with Picture Manager Auto Correct,
Rotate, Crop, Delete, Brightness
Resizing photos in Picture Manager
Red Eye Removal and Manual Color Adjustments
Saving photos on the computer
Printing photos on paper

Fourth Quarter
Picture It

Picture it overview

The Enhancing Images using Picture It! Photo 2002 course is the third course in the
Works Suite 2002 curriculum. This course familiarizes users with the features and interface of
Picture It! Photo 2002. It also teaches users how to create projects using templates and add
objects to the projects. Additionally, the course teaches users how to modify a picture and its
objects and apply various effects to enhance the quality of the pictures.

Getting Started with Picture It! Photo

Overview of Picture It! Photo

Creating Projects & Adding Objects

Quiz

Customizing Objects in Picture It! Photo
Modifying and Editing Objects
Applying Effects to Objects
Quiz

P39

SPECIAL PROGRAM in the ARTS

MEDIA ARTS III

Introduction to Film and Videography

I. First Grading Period
FILM THEORY: Videography Essentials

A. Film Theory
Film Component
- The Film as an Idea
- The Mechanical Elements of the Film
- Mechanical Elements Form an Artifact
- Social Element in the Film
- The Dramaturgical Element in the Film
- The Dramaturgical Element and the Plot
- The Element of Film Sound

B. Capturing Video
Technique
- Basic Rules of Making a Video
- Composing Shots
- Video-making Terms
- Framing
- Camera Placements, Angles, and Eye-lines
- Transitions

Expected Outputs: (Group) 1. A photo-magazine exhibiting the different camera placements,
angles, transitions, and eye-lines. Selected topic or subject must apply dramaturgical elements.
2. A [PowerPoint] documentation of their group report on Film Theory.

II. Second Grading Period
FILM: Appreciation and Criticism
A. Film Appreciation
1. Form in Film
- The Concept of Form in Film
- Principles of Form in Film
2. Systems in Film
- Non-narrative Formal Systems
- Narrative Formal Systems
3. Aesthetics in Film
- Aesthetic Qualities of Film
- Film as a Mass Medium
- Basic Considerations in Film Appreciation
a. Entertainment Value
b. Educational Value
c. Artistic Value

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B. Film Criticism

1. Criticism beyond Enjoyment of Film 6. Judging the Scene
2. The Experience of Film Viewing - Power of a Scene
- Aspects of a Scene
3. Interpreting a Film
- Aesthetic Interpretation 7. Judging the Camera Work
- Sociological Interpretation - Photographic Image
- Psychological Interpretation - Speed of Motion
- Other Features of the Camera
4. Criteria for Judging Films
- Realistic Criteria 8. Judging the Film Sound
- Moral Criteria
- Artistic Criteria
5. Judging the Film Story
- Plot and Story
- The Character in the Story

Expected Output: (Individual) Detailed reviews on 2 of the movie choices to be given after all
the topics have been discussed: 1 Filipino or mainstream film, and 1 Foreign Language (other
than English) film.

III. Third Grading Period
Recital Proposal and Planning of Video Output

A. Creating the Video
1. Writing the Plot
2. Creating a Storyboard
3. What can I Video?
4. Storyline
5. How To: Format and Flow
6. Revisions

Expected Output: (Group) Original Script on Storyboard with matching Shoot-to-Play Video Clip

IV. Fourth Grading Period
Output Making and Recital

A. Video Editing
1. An Introduction
2. Edited vs. Shoot-to-Play
3. Available Software (Windows Moviemaker; iMovie; Pinnacle, ULead,
Adobe Premiere, etc.)
4. Software of Choice
5. Going Further with Video Editing
6. Shoot-to-Play Videos Edited

Expected Output: (Individual) Edited versions of Third Grading Projects PLUS ALL the outputs
from 1
st
to 3
rd
Grading Periods.

P41 IF ANYTHING IS TRUE OF THE ARTS, IT IS THAT THERE ARE NO RULES.


MEDIA ARTS IV
(Video Editing)

Course Outline SY 2009-2010

First Grading Period

Video Production
Elements of Video

Basic Objectives of Video

Advantages/Disadvantages of Using Video

Video Production Process
Pre-production
Conceptualization
Research
Budget
Script Development
Location Hunting

Production
Shooting

Post-Production
Editing
Mixing

Presentation

Second Grading Period

Chapter 1: Using Studio

Undo, Redo, Help, Support and Premium Setting options

A. Edit Mode
The Player
Playback controls
Further editing topics
Expanding Studio

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Chapter 2: Capturing Video

A. The Capture Mode interface
The Diskometer
The Camcorder Controller

B. The Capture Process
Capture hardware
Capture step-by-step
Scene Detection

C. Digital capture
Audio and video levels digital

D. Analog Capture
Capture quality options
Audio and video levels analog

Chapter 3: The Album

A. The Video Scenes section
Opening a captured video file
Viewing captured video
Selecting scenes and files
Displaying scene and file information
Comment view
Combining and subdividing scenes
Redetection scenes

B. Transitions section

C. The Titles section

D. The Still Images section

E. The Disc Menus section

F. The Sound Effects section

G. The Music section

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Third Grading Period

Chapter 4: The Movie Window

A. Movie Window views
Storyboard view
Timeline view
Text view

B. The toolboxes
The Video toolbox
The Audio toolbox

Chapter 5: Video clips

A. Video clip basics
Adding video clips to your movie

B. Splitting and combining clips

C. Using video effects
Working with effects list
Changing effect parameters
Key framing
Using key framing
Previewing and rendering

D. Video effects library

E. Standard effects
Auto color correction
Noise reduction
Stabilize
Speed

F. The smart movie music video tool

Chapter 6: Transitions

A. Transition types and their uses

B. Previewing transitions in your movie

C. Audio transitions

D. The Ripple Transition command

P44

Fourth Grading Period

Chapter 7: The Title Editor

A. The Title Editor controls
Title-type buttons
Object toolbox
Editing-mode selection buttons
Object layout buttons
Clipboard and delete buttons
Text-styling controls

Chapter 8: Sound Effects and Music

A. The Timeline audio tracks

B. The Sound tool

C. The Voice-over tool

D. Audio volume and mixing
Anatomy of an audio clip
Adjusting audio on the Timeline
The Volume and balance tool

Chapter 9: Making your Movie

A. Output to disc media

B. Output to file

C. Output to tape

Configuring the camera or video recorder
Output your movie to videotape

P45


MUSIC THEORY

COURSE DESCRIPTION:

Music Theory is a course designed for students with a strong vocal or instrumental music
background. It introduces the student to the standard western musical notation. It helps
students understand how music is constructed or created, provide opportunities to develop their
creativity, and offer insights on how to improve musical performance. It provides adequate
knowledge and discipline necessary for music major students to become future accomplished
musicians.

Exercises in the Dannhauser are activities to improve sight-reading skills and develop
pitch and rhythm accuracy in students.

The course is taken by all music major students.

CLASS SCHEDULE:

This course is taken every Monday for two hours during major class time.

GRADING SYSTEMS:

Portfolio Assessment 25%
Performance Assessment 50%
Class Participation 20%
Practicum 30%
Written Assessment 25%
Quizzes 10%
Periodical Test 15% _____
100%

FIRST YEAR

COURSE OBJECTIVES: At the end of the school year, the students will be able to:
1. Discuss the brief history of music
2. Gain understanding of the basic concepts underlying the creation of music which will
lead to a thorough understanding of music composition
3. Demonstrate pitch notation using Kodaly Hand Signals
4. Demonstrate note and rest values using body movements
5. Write musical signs and symbols in their correct form and position
6. Name notes on the treble and bass clefs
7. Identify the position of notes on the keyboard
8. Read and write musical notation in a treble or bass clef
9. Form words on notes written on a treble or bass clef
10. Create different rhythmic patterns in a given simple or compound meters
11. Demonstrate basic rhythmic patterns in simple or compound meters using physical
movements

P46

12. Explain the concept of dotted rhythms
13. Develop basic sight reading skills through note reading exercises
14. Develop pitch and rhythm accuracy through note reading exercises
15. Construct chromatic and whole tone scales in any given key tone
16. Construct modal scales in any given key tone

COURSE OUTLINE

FIRST GRADING 10 HOURS

Lesson 1: The Basic Language of Music 2 hours

a. Properties of Sounds
b. Elements of music
c. Brief History of Music
d. Pitch Notation (Kodaly Hand Signs)
e. Rhythmic values (hands and feet movement; Kodaly Rhythm Syllables)

Lesson 2: Musical Signs and Symbols 2 hours

a. Definition of musical signs and symbols
a.1. Musical staff/staves
a.2. Clefs (treble and bass)
a.3. Notes and rests
a.4. Ledger lines
a.5. Beams and flags
a.6. Chromatic Signs (sharps, flats and natural signs)

b. Drawing signs and symbols
b.1. Musical staff/staves
b.2. Clefs (treble and bass)
b.3. Notes and rests
b.4. Ledger lines
b.5. Beams and flags
b.6. Chromatic Signs (sharps, flats and natural signs)

Lesson 3: Staff and Keyboard Communication 2hours

a. Notes on the treble clef staff and its position on the keyboard
b. Notes on the bass clef and its position on the keyboard
c. Musical alphabet
d. Word formation from a given notation on a treble of bass clef

P47

4
4
3 2 2
4, 4, 2

Lesson 4: Introduction to Simple Meters 2 hours

a. Definition of terms: Time Signature and Meter
b. Example of simple meters
c. Symbol C
d. Creation of rhythmic patterns in using whole notes, half notes, quarter notes, eighth
notes, half rests and quarter rests
e. Execute created rhythmic patterns through clapping

Evaluation 2 hours

Written Test 25 pts.
Practicum 25 pts.

Lesson 6: Dannhauser Nos. 1-21 6 hours

Practicum 2 hours

First Periodical Test 2 hours

SECOND GRADING

Lesson 1: Continuation of Simple Meters 2 hours

a. Simple meters:
b. Symbol C

c. Creation of rhythmic patterns in using whole notes, half notes, quarter notes,
eighth notes, half rests and quarter rests
d. Execute created rhythmic patterns though clapping

Evaluation
Written Test
Practicum


Practicum 2 hours


Practicum 2 hours

Second Periodical Test 2 hours

MIDYEAR RECITAL

P48

3 2 2
4, 4, 2
3 6 9 12
8, 8, 8, 8
3 6 9 12
8, 8, 8, 8

THIRD GRADING 16 hours

Lesson 1: Compound Meter 4 hours

a. Compound meters:
b. Creation of rhythmic patterns in using whole notes, half notes, quarter
notes, eighth notes, half rests and quarter rests
c. Execute created rhythmic patterns through clapping
d. Dotted notes and rests

Practicum 2 hours


Practicum 2 hours

Third Periodical Test 2 hours

FOURTH GRADING 16 hours

Lesson 1: Scales 2 hours

a. Definition of Scales
b. Examples of Scales
c. Whole steps and half steps

Lesson 2: Chromatic Scales 2 hours

Lesson 3: Whole Tone Scales 2 hours

Lesson 4: Modal Scales 6 hours

a. Ionian Scale
b. Dorian Scale
c. Phrygian Scale
d. Lydian
e. Mixolydian
f. Aeolian
g. Locrian

Written Test 2 hours

Fourth Periodical Test 2 hours

YEAR END RECITAL

P49

SECOND YEAR


1. Gain a full understanding of the pre-concepts on pitch and rhythm
2. Construct major scales on a any given key tone
3. Play major scales on a keyboard
4. Construct minor scales on a any given key tone
5. Play minor scales on a keyboard
6. Construct pentatonic scales on a any given key tone
7. Play pentatonic scales on a keyboard
8. Sing folk songs of the Philippines in a major or minor mode
9. Sing Asian Folk Songs in a Pentatonic mode
10. Differentiate the distinctive melodic quality of songs in any mode
11. Identify the key of a musical piece in any mode
12. Identify relative and parallel keys
13. Write proper key signature positions on the treble and bass clefs
14. Analyze intervals

COURSE OUTLINES

FIRST GRADING 20 hours

Lesson 1: Review of Pre-Concepts (Pitch and Rhythm) 4 hours

Lesson 2: Major Scales 4 hours

a. Pattern of Whole steps and half steps
b. Scale Degrees
c. Major Scales (Sharps)
d. Major Scales (Flats)

Lesson 3: Singing and Listening 4 hours

a. Folk Songs of the Philippines in a major mode
b. Art songs in a major mode


Practicum 2 hours


P50

SECOND GRADING 20 hours

Lesson 1: Minor Scales 4 hours

a. Pattern of Whole Steps and Half Steps
b. Natural, Harmonic, Melodic Minor
c. Minor Scales (Sharps)
d. Minor Scales (Flats)


a. Folk Songs of the Philippines in a Minor Mode
b. Art songs in a minor mode

Lesson 3: Pentatonic Scales 4 hours

a. Brief History of Pentatonic Scales
b. Religious and Cultural Background of Asian Countries using Pentatonic Scales
c. Types of Pentatonic Scales
d. Building Pentatonic Scales on a given key tone


a. Asian Folk Songs in a Pentatonic mode
b. Musical Analysis

Lesson 5: Dannhauser Nos. 152 154 2 hours

Practicum 2 hours


MIDYEAR RECITAL


Lesson 1: Relative Scales 2 hours

Lesson 2: Parallel Scales 2 hours

Lesson 3: Dannhauser Nos. 37-38; 155-156 4 hours

Practicum 2 hours
Lesson 4: Major Key Signatures 2 hours

a. Major Keys with Sharp Key Signatures
b. Major Keys with Flat Key Signatures
c. Writing of Key Signatures on the Treble Clef and Bass Clef

P51

Lesson 5: Minor Key Signatures 2 hours

a. Minor Keys with Sharp Key Signatures
b. Minor Keys with Flat Key Signatures
c. Writing of Key Signatures on the Treble Clef and Bass Clef



Lesson 1: Introduction to Intervals 2 hours

a. Definition of Terms
b. Types of Intervals
c. Numerical Classification
d. Quality Classification

Lesson 2: Unison and Perfect Intervals 2 hours


Lesson 3: Major Intervals/Augmented Intervals 2 hours


Lesson 4: Minor Intervals/Augmented Intervals 2 hours



YEAR-END RECITAL

P52

THIRD YEAR


1. Define triads
2. Identify the different types of triads
3. Differentiate the types of triads by analyzing the intervals
4. Identify the positions of the triads
5. Create a major, minor, augmented, diminished triads
6. Convert triads
7. Create chords on a given tonic
8. Identify the key of the chord
9. Analyze chords in a given musical piece
10. Harmonize simple melodies
11. Compose simple melodic lines and rhythmic accompaniments

COURSE OUTLINE


Lesson 1: Review of Pre-Concepts 2 hours

Lesson 2: Triads 6 hours

a. Definition of Terms
b. Members of a Triad
c. Kinds of Triads
d. Major Triads/Augmented Triads
e. Minor Triads/Augmented Triads


Lesson 3: Triad Inversions/Positions 2 hours

a. Root Position
b. First Inversion
c. Second Inversion


Lesson 4: Dannhauser Nos. 39-40; 157 2 hours

Practicum 2 hours

P53

Lesson 1: Chords 6 hours
a. Define Terms
b. Major Chord
c. Minor Chord
d. Augmented Chords
e. Diminished Chords
Lesson 2: The Seventh Chords 4 hours

a. Major Seventh Chords
b. Minor Seventh Chords
c. Dominant Seventh Chords


Lesson 3: Dannhauser Nos. 41-43; 158 2 hours

Practicum 2 hours

Second Periodical Test
MIDYEAR RECITAL

Lesson 1: Chord Analysis 4 hours

Lesson 2: Harmonizing Melody 4 hours

a. Folk Songs of their Choice
b. Composed simple melodies

Lesson 3: Creating Rhythmic Accompaniments 4 hours
Practicum 2 hours


Lesson 1: Basic Composition 2 hours

Lesson 2: Composing Simple Melodies 4 hours

Lesson 3: Composing Simple Rhythmic Accompaniments 4 hours

Practicum 2 hours

YEAR-END RECITAL

P54

FOURTH YEAR


1. Appreciate musical genres of different musical eras
2. Describe Renaissance Music
3. Describe Baroque Music
4. Describe Classical Music
5. Describe Romantic Music
6. Describe Contemporary Music
7. Identify musical era of a music through listening

COURSE OUTLINE


Lesson 1: Renaissance Music 4 hours

a. Melody
b. Rhythm
c. Texture
d. Dynamics
e. Timbre
f. Form

Lesson 2: Renaissance Music Samples 4 hours

Lesson 3: Baroque Music 4 hours
a. Melody
b. Rhythm
c. Texture
d. Dynamics
e. Timbre
f. Form

Lesson 4: Baroque Music Samples 4 hours

Practicum 2 hours


Lesson 1: Classical Music 4 hours
a. Melody
b. Rhythm
c. Texture
d. Dynamics
e. Timbre
f. Form

P55

Lesson 2: Classical Music Samples 4 hours

Lesson 3: Romantic Music 4 hours

a. Melody
b. Rhythm
c. Texture
d. Dynamics
e. Timbre
f. Form

Lesson 4: Romantic Music Samples 4 hours

Practicum 2 hours


MIDYEAR RECITAL


Lesson 1: Contemporary Music 4 hours

a. Melody
b. Rhythm
c. Texture
d. Dynamics
e. Timbre
f. Form

Lesson 2: Contemporary Music Samples 2 hours

Lesson 3: Filipino Composers and their Works 4 hours

a. Melody
b. Rhythm
c. Texture
d. Dynamics
e. Timbre
f. Form

Lesson 4: Philippine Music Samples 2 hours

Practicum 2 hours


P56


Lesson 1: Part-Writing 4 hours

a. Basic Rules
b. Part-Writing for Two Voices

Lesson 2: Counterpoint 4 hours

a. Basic Rules
b. Counterpoint for a given cantus firmus


Practicum 2 hours


GRADUATION RECITAL

P57


COURSE OUTLINE IN CHORAL MUSIC I

Rationale

The Philippines is a country gifted with top-caliber choirs that are known in the
international stage. It is the home of two-time grand prix winner of the European Choir
Competition, the Philippine Madrigal Singers. This is a manifestation that the level of
appreciation of the Filipinos in Choral music is relatively high.

I. Mission of the Special Program in the Arts

The Special Program in the Arts envisions an excellent young artist with authentic
potential and renewed spirituality committed to the preservation of Filipino culture and
heritage.

II. Objectives

1. Develop a good singing voice.
2. Read and interpret a musical score accurately.
3. Understand the nature of the human voice and its wide possibilities.
4. Understand the meaning of music through the study of vocal literature suited to their
vocal range and quality.
5. Develop good practice habits and self-discipline.
6. Build a range of repertoire that represents several musical styles.
7. Become aware of the major problems involved in interpretation and performance and
how to proceed with their improvement.
8. Develop awareness and appreciation in the performance of folk, indigenous and classical
music.
9. Present an excellent performance that will showcase his potential to become a world-
class artist.

III. Grading System

Performance 50%
Written Test 25%
Portfolio Assessment 25%
Total 100%

IV. References:

Choral Connections Series (Level 1)
Teaching Kids to Sing by: Kenneth Philips
http:/www.yorku.ca/earmstro/journey/care.html
www.wikipedia.com

P58

V. Materials:
DVD Player
TV
Stereo Speakers
Illustrations and video clips

VI. Course Outline

First Grading Period (The Human Voice)

1. The Physiology of the Human Voice
A. Voice Subsystems
a. Air pressure system
b. Vibratory system
c. Resonating system
B. The Voice Box
C. Vocal Folds
2. Voice Disorders
A. Common Vocal Disorders
B. Broad Causes
a. Functional
b. Organic
c. External
3. Proper Care of the Voice
Output: Illustrations of the Vocal Machine

Second Grading Period (Foundations of Choral Music)

1. Basic Terminologies in Choral Music
2. Structure of Choirs
A. By Voice
a. Mixed choirs
b. Male Choirs
c. Female Choirs
d. Childrens Choir
B. By the institutions in which they operate
a. Church choirs
b. Collegiate choirs
c. School choirs
d. Community choirs (of children or adults)
e. Professional choirs
C. By the type of music they perform
a. Symphonic choirs
b. Vocal jazz choirs
c. Show choirs

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2
4

3. Skills involved in Choral Singing
A. Intonation
B. Phrasing
C. Diction
D. Dynamics
E. Breathing Technique
F. Stage Deportment
G. Range
H. Blending (anchor)
Output: Graphic organizer of the Foundations of Choral Music

Third Grading Period (Historical Overview of Choral Music)

1. Antiquity: Music of Ancient Greece
2. Medieval Music
a. Monophony: Gregorian Chant
- sacred music
3. Renaissance Music
a. Polyphony
- Madrigal
4. Baroque Music
a. Oratorio
5. Classical and Romantic Music
6. 20
th
and 21
st
Century Music
Output: A performance of 3 two-part or three-part choral pieces

Fourth Grading Period (Philippine Folk Songs)

1. Ilocano Folk Songs
a. Balse (Naraniag a Bulan, Dagiti Bitbituen, Diyay Baybay)
b. time signature (Pamulinawen, Ilocana a Nasudi)
2. Cordillera songs
a. Occupational
b. Worship
3. Tagalog Folk Songs
4. Visayan Folk Songs
5. Mindanao Folk Songs

Output: Perform one example of folk song in every ethnic origin.

P60


THEATER ARTS PROGRAM

OBJECTIVES:
At the end of the four-year course, every Theater Arts student is expected to:
1. Be good Theater practitioners
* Be physically nimble and flexible
* Be vocally strong in terms of projection, enunciation and articulation
* Be able to understand and interpret the psychological and sociological
background of the character in the play
* Be creative in performance
* Be able to produce a play of their own
2. Have a theoretical background on theater
3. Have leadership quality in the artistic and technical aspects of theater
* Be able to work harmoniously with others
* Be open to criticism

THEATER ARTS
CONCEPTUAL FRAMEWORK

FIRST YEAR SECOND YEAR THIRD YEAR FOURTH YEAR
Description Introduction to
Theater Arts and the
Philippine Theater
Play Production &
Development and the
Asian Theater
Theater Production
a& World Theater
Management:
Production, Technical,
Artistic, Business
Theory * Development of
Theater
* Elements of a Play
Production
* Review of Philippine
Theater
* Elements of a Play
Script
* Basic Acting
* Review of Asian
Theater
Theater Management
* Roles/Functions in a
Play Production
* Review of World
Theater
* Philippine &
Contemporary Play
Production
Laboratory * Speech Improvement
* Puppet Making
* Improvisation
* Research Work
* Play Analysis
* Script Writing
* Basic Acting &
Directing
* Making Artistic
Design & Technical
Layout
* Making poster,
tickets, brochures
* Film/Slide
* Making of clippings on
the Origin of Philippine &
Theater & Plays
Performance * Poetry in Motion
* Puppetry
* Pantomime
* A scene-play
* Monologue
* One-Act Play
* One-act stage play
* one-act radio drama
* one-act TV drama
* any Philippine/
Contemporary play
Written
Output
* Clippings on the
History of Theater
Analysis
* Script
* Play
* Posters, tickets,
brochures
* Technical Layout &
Artistry
* Thesis

P61


THEATER ARTS 1

SYLLABUS

I. Course Title: Introduction to Theater Arts and the Philippine Theater

II. Description:

In this course, the students will undergo a learning experience in self-expression and
effective communication through the different integrated theater process of exploration. This
will also introduce the students to the History of the Philippine Theater.

III. Objectives:

At the end of school year, the student should be able to achieve the following:
1. Improve voice quality, enunciation and communication of emotion through voice,
facial expression and body movements.
2. Be able to communicate thoughts and emotion which are vital signs to the well-
functioning individual.
3. Develop problem solving techniques and skills in sounds decision making.
4. Develop self-confidence and improved self-esteem.
5. Trace the development of theater.
6. Make theater a life long recreation and entertainment.
7. Gain fuller understanding of themselves, their potentialities, weaknesses, ideas,
attitudes, feelings, fantasies, memories and aspiration.
8. Develop evaluation skills as active and critical audience.
9. Imbibe and apply social values such as a sense of responsibility, cooperation,
initiative, trust, love, honesty, etc.
10. Enjoy working and playing with other people.

IV. Content:

SPEECH IMPROVEMENT FOR THE THEATER

I. Orientation

1. Definition of drama, theater arts, theater
2. Speech improvement & creative drama
3. House rules
4. Review of the Philippine plays

II. Speech Improvement

A. Voice
1. Yawn and stretch
2. Standing position
3. Nasal resonance

P62

4. Breathing exercises
5. Pitch
6. Volume
B. Diction
1. Glottal Attacks
2. Philippine Diction
3. Assorted Diction
4. Voice/Diction Exercises
C. IPA Symbols

III. Laboratory: Verbalizing Activities
A. Cinquian poems on color
B. Describing favorite foods
C. Developing dialogue through puppetry
D. Developing dialogue as characters small groups
E. Developing dialogue as character teacher lead
F. Evaluating group work
G. Role-playing in pairs
H. Role-playing in small groups
I. Role-playing teacher lead
J. Sound stories

Expected Output
Showcases:
1. Poetry in motion (rhymes & verses)
2. Interpretative Reading
3. Puppetry

IMPROVISATION THEATER

I. WARM UP
1. Memory Games
2. Expulsion Tag
3. Run-Freeze
4. Melt, Crop and Fall

II. TRUST
1. Bamboo
2. Carousel
3. Touch Me
4. Catch Me When I Fall

III. CONCENTRATION AND FOCUS
1. Eye to Eye
2. Joke Only
3. Broken Telephone

P63

IV. THE BODY
A. Sensory Awareness Exercises
1. Blind Walk
2. Treasure Hunting
3. Zig-Zag Mirror
4. Mirror
5. Waves
6. Sculpture
7. Pictorial
8. The Magical Wand
9. Tension Release

V. SPACE
1. Give me a shape
2. Traffic
3. A day in a life
4. Travelogue
5. Collapse
6. Believability Exercises

VI. EMOTIONS
1. Symphony of emotions
2. Masks
3. Primal scream
4. Improvisations and Emotions
VII. SOUNDS
1. Airport
2. Noise Relay
3. Orchestra

VIII. CHARACTER DEVELOPMENT AND DEVELOPING DIALOGUES
1. Trash Can
2. Animal Kingdom
3. Finger Wrestling
4. Feet Conflict
5. Mannequin
6. Bakit? Why?
7. Round the Clock
8. Entrance, Exit
9. Zigzag Conflict
10. Newspaper
11. One Word Story
12. Three Line Scenes
13. The Talk Show

P64

IX. LABORATORY: SPEECH IMPROVEMENT

EXPECTED OUTPUT
Showcases:
1. Pantomime
2. Readers Theater
3. Chambers Theater
4. Speech Choir

BRIEF BACKGROUND ON THE DEVELOPMENT OF THEATER IN THE WORLD

I. Origin of Theater
A. Ancient Theater
1. Greek
a. Aeschylus
b. Aristophanes
c. Euripides
d. Sophocles
2. Roman
a. Plautus
b. Seneca
c. Terence
B. Medieval Theater
C. American Theater
D. Asian Theater
E. British Theater
F. French Theater
G. German Theater
H. Irish Theater
I. Italian Theater
J. Russian Theater
K. Spanish Theater

II. Laboratory Research on the Background & History of Theater

Expected Output
Clippings on the development of theater

P65


BASIC DRAMA, THEATER AND THEORY

I. The Playhouse/Theater
A. Theater Terms and Technologies
B. Stage
1. Area of the Stage
2. Types of Stage
C. Auditorium
D. Mechanism

II. The Drama
A. Types of Drama
1. Allegory
2. Burlesque
3. Comedy
4. Fantasy
5. Farce
6. Melodrama
7. Mime
8. Naturalistic
9. Problem Play
10. Realistic Play
11. Romantic Play
12. Symbolism
13. Tragedy
14. Tragic Comedy
15. Travesty

III. Producing the Play: Equipment, Skills Involved
A. The Director
B. The Actor
C. The Playwright
D. Visual Aspect
E. Stage Business
F. Stage Manager
G. The Stage and its Equipment
1. The Stage
2. Parts of a Stage
3. Stage Geography
4. Sets
5. Lights
6. Properties
7. Sound Effects
8. Costumes

P66

IV. Basic Steps in Play Production
A. Selection of the Play
B. Auditions
C. Rehearsals
1. Reading
2. Blocking
3. Series of Rehearsals
4. Dress Rehearsals
5. Word Rehearsals
D. The Performance
E. Curtain Call
F. Other Related Business
1. The Auditorium
2. The Sound System
3. Publicity
4. Tickets
5. Invitations
6. Refreshments
7. Ushers
G. The Audience

V. Laboratory: A Scene-Play
Expected Output
Showcase: A scene-play
V. References
Cotrell, June (1975). Teaching with Creative Dramatics. Skokie, Illinois: National
Textbook Company.
Pangilinan, Estrelita & Dilig, Myrna (1991). Speech and Drama. Manila: National
Bookstore, Inc.
www.allabouttheater.com
www.theaterhistory.com

VI. Requirements
1. Lecture notebook
2. Assignment Notebook
3. Presentation/submission of outputs
4. Written/oral exams
5. Attendance
VII. Grading System

Performance 50%
Practical Test 30%
Written Tests 25%
Quizzes 10%
Periodical Test 15%
Portfolio 25%
Projects/Outputs
TOTAL 100%

P67


THEATER ARTS II

SYLLABUS

I. COURSE TITLE: PLAY PRODUCTION & DEVELOPMENT and ASIAN THEATER

II. DESCRIPTION
This course introduces the theories in the development of a play production. It attempts
to present a vivid picture of the different basic elements and process of a play production. The
students will undergo laboratory activities in play analysis, script writing, monologue, a scene-
play through the different integrated theater process and exercises.

III. OBJECTIVES
At the end of the school year, the students should be able to achieve the following:
1. Identify the basic elements of a play, script and script writing, acting and directing
2. Review and analyze a stage play
3. Write one-scene script
4. Familiarize and understand the actors instrument through the inner and outer
dimensions
5. Identify the role of an actor, director
6. Be able to communicate thoughts and emotions which are vital signs to the well-
functioning individual.
8. Imbibe and apply social values such as a sense of responsibility, cooperation,
initiative, trust, love, honesty, etc.
9. Gain fuller understanding of themselves, their potentials, weaknesses, ideas,
attitudes, feelings, fantasies, memories and aspirations.
10. Develop self-confidence and improve self-esteem.
11. Make theater a life long recreation and entertainment.
12. Enjoy working and playing with other people.

IV. CONTENT
THE ELEMENTS OF A PLAY

I. Definition, Significance, Examples
1. Character
2. Settings
3. Plot
4. Initial Event
5. Conflict
6. Rising/Falling of Events
7. Climax
8. Denouement
9. Conclusion

P68

II. Play Review & Analysis
1. Character
2. Settings
3. Plot
4. Initial Event
5. Conflict
6. Rising/Falling of Events
7. Climax
8. Denouement
9. Conclusion

III. Review of Asian Theaters

IV. Laboratory: Analysis of a Play
Expected Output: Play Analysis

SCRIPT & SCRIPT WRITING

I. SCRIPT
A. Definition
B. Elements of Script
C. Characters
D. Setting
E. Dialogue
F. Theme
G. Directors Note
1. Stage Business
2. Movement
3. Technical Requirements

a. Props
b. Lighting
c. Musical & Sound

II. Script Writing
A. Process
1. Concept
2. Storyline/Concept Outline
3. Structure/Scenario/Sequence Treatment
4. Script Writing/Dialogue Writing
5. Revision
6. Publication

III. Laboratory: Script Writing

Expected Output: Written Script

P69


BASIC ACTING

I. Acting
A. Definition
B. Significance
C. Actors Instrument
1. Outer Dimension
a. Voice
b. Body
c. Senses
2. Inner Dimension
a. Thinking
b. Feeling
c. Will
d. Higher Self

II. Creating a Role
A. Analyzing a role
B. Movement & Gestures
C. Vocal Characterization
D. Conservation & Built

III. Laboratory Work: Creating a Role

Oral Output:
Showcase: Monologue

FOURTH GRADING
BASIC DIRECTING

I. The Director
A. Definition
B. Significance
C. Duties
D. Role/Function
1. Selecting the Play
2. Casting
3. Interpreting the Play
4. Blocking the play
5. Rehearsing
a. Line Throwing
b. Hand Props
c. Basic Scenery
d. Entrance/Exit
e. Technical Crew
f. Dress

P70

II. Directing the Actor
A. Play for the Audience
B. Entrance and Exit
C. Pause
D. Reactions
E. Long Speeches
F. Spontaneity
G. Emotional scenes
H. Crowd Scenes
I. Random Movement
J. Interrupting Rehearsal & the Actors Behavior
K. Memorizing of Lines
L. Ad Libbing
M. Curtain Calls

III. Laboratory Work: Basic Directing

Expected Output:
Showcases: Play production of a one-act-play

V. References
Textbook Company.
Bookstore, Inc.

VI. Requirements
1. Lecture notebook
5. Attendance

VII. Grading System

Performance 50%
Practical Test 30%
Written Tests 25%
Quizzes 10%
Periodical Test 15%
Portfolio 25%
Projects/Outputs
TOTAL 100%

P71


THEATER ARTS III

SYLLABUS

I. Course Title: Theater Management: Production, Artistic, Technical & Business, with
Lectures in the World Theater

II. Description:
This course introduces the process of managing a stage production and its technical
aspects. It attempts to present a vivid picture of a production layout/design. The students will
undergo a learning experience in the world of theater production through the different
integrated theater process and exercises.

III. Objectives:
1. Identify the function/role of a stage manager
2. Familiarize themselves with the terminologies in a stage management
3. Acquaint themselves with the different areas, measurement, and position props of the
stage
4. Familiarize themselves with the technical terms and understand the technical aspect
of theater production.
5. Specialized their roles/functions in play production
6. Experience the process of production and technical work through exercises laboratory
7. Able to communicate thoughts and emotions which are vital signs to the well-
functioning individuals
8. Develop evaluation skills as active and critical audience
9. Imbibe and apply social values such as sense of responsibility, cooperation, initiative,
trust, love, honest, etc.
attitude, feeling, fantasies, memories and aspirations.
11. Develop self-confidence and improve self-esteem
12. Make theater a life long recreation and entertainment
13. Enjoy working and playing with other people

IV. Content:

STAGE MANAGEMENT

I. THE STAGE MANAGER
A. Definition
B. Significance
C. Role/Function

P72

II. STAGE MANAGEMENT
A. Definition
B. Terminologies of a Stage Management
C. Organization

III. THE STAGE
A. Areas
B. Measurement
C. Scenery
1. Scenery Styles
2. Scenery Design
3. Building the Scenery
4. Painting the Scenery
5. Dressing the Stage

IV. TECHNICAL MANAGEMENT
A. Music and Sound Director
1. Role/Function
2. Sound Effects
3. Music
B. Lights Director
1. Role/Function
2. Lights
a. Quantity
b. Distribution
c. Color
3. Purpose and Significance

V. ARTISTIC MANAGEMENT
A. Costume Mistress
1. Role/Function
2. Uses of Costume
3. Costume Design
B. Make-Up Director
1. Role/Function
2. Stage Make-up
a. Purpose
b. Techniques and Processes
C. Property Master
1. Role/Function
2. Props
a. Scene Props
b. Hand Props
D. Laboratory: Artistic Management Activities

VI. LABORATORY ON THE TECHNICAL AND ARTISTIC ASPECTS OF A PLAY PRODUCTION
Expected Output:
1. Artistic Design
2. Technical Layout
P73


BUSINESS MANAGEMENT & PUBLICITY

I. Business Management
A. Purpose
B. Business Manager
1. Role/Function
C. House Manager
1. Role/Function

II. Publicity
A. Purpose
B. Publicity Manager
1. Role/Function
2. Laboratory: Business Management & Publicity Activities

Expected Output

Posters, tickets, brochures


SPECIALIZATION OF ROLES/FUNCTIONS IN A PLAY PRODUCTION IN THE WARED THEATER

I. Review the Different Roles/Functions in Play Production
A. Production Team
B. Artistic Team
C. Technical Team
D. Business Team
E. Laboratory: Individual Exploration of Each Role/Function on Stage/Over
the Radio or Television

II. Specialization of Role/Function
Expected Output
Showcase:
1. one-act stage play
2. one-act radio drama
3. one-act TV drama

P74

PLAY PRODUCTION LABORATORY

LABORATORY WORK IN THE SPECIALIZED ROLE/FUNCTION

Expected Output
Showcase: Full play stage/radio/TV production

V. References
Textbook Company.
Bookstore, Inc.

VI. Requirements
1. Lecture notebook
5. Attendance

VII. Grading System

Performance 50%
Practical Test 30%
Written Tests 25%
Quizzes 10%
Periodical Test 15%
Portfolio 25%
Projects/Outputs
TOTAL 100%

P75


THEATER ARTS IV

SYLLABUS

I. Course Title: Production & Contemporary Theater

II. Description
This course introduces contemporary play productions in the Philippines. It attempts to
present a thesis production based from the content of the course designed. The students will
undergo a learning experience in the world of theater production and thesis production.

III. Objectives:
1. Identify the different play productions in the Philippines settings; and the
contemporary
2. Write a thesis in drama and in theater arts
3. Be able to communicate thoughts and emotion which are vital signs to the well
functioning individual
5. Imbibe and apply social values such as sense of responsibility, cooperation, initiative,
trust, love, honest, etc.
attitude, feeling, fantasies, memories and aspirations.
7. Develop self-confidence and improve self-esteem
8. Make theater a life long recreation and entertainment
9. Enjoy working and playing with other people

IV. Content
PLAY PRODUCTION IN THE PHILIPPINE SETTING

I. Origin of the Philippine Theater
A. Primitive
B. Spanish
C. American

II. Philippine Plays
A. Primitive
B. Spanish
C. American

III. Laboratory
1. Film/Slide Viewing
2. Clippings on the origin of the Philippine theater, and the different Philippine plays
3. Philippine play production
Expected Output
Any Philippine play production

P76


CONTEMPORARY PLAY PRODUCTION

I. The Beginning Contemporary Play Production
A. Significance
B. Playwrights

II. Contemporary Play Productions
A. The Musical Drama
B. The Dance Drama
C. The Road Show
D. The Melodrama
E. The Readers Theater
F. The Variety Show
G. The Revue
H. The Skit
I. Improvisation
J. Blackouts
K. Pantomime
L. Choral Speaking
M. Puppetry
Expected Output
Any of the above kind of a contemporary plays productions

THIRD GRADING PERIOD & FOURTH GRADING PERIOD
THESIS PRODUCTION

THESIS WRITING

Expected Output
Thesis Production in Theater Arts

V. References
Textbook Company.
Bookstore, Inc.

VI. Requirements
1. Lecture notebook
5. Attendance

P77

VII. Grading System

Performance 50%
Practical Test 30%
Written Tests 25%
Quizzes 10%
Periodical Test 15%
Portfolio 25%
Projects/Outputs
TOTAL 100%

P78


VISUAL ARTS 1

I. Art History
A. Pre-Historic Art
Neolithic Art
B. Specific Arts
1. Calligraphy
2. Pottery
3. Lithography
4. Metal works
5. Painting
a. Medium
b. Fauvism
c. Expressionism
d. Cubism
e. Abstract
f. Pop Art
6. Photography
7. Woodworking
8. Sculpture
II. Elements and Principles of Design
A. Elements of Design
1. Line
2. Shape/Form
3. Value
4. Color
5. Texture
B. Principles of Design
1. Balance
2. Harmony
3. Rhythm
4. Proportion
5. Variety
6. Emphasis

III. Freehand Sketching
A. Tools & Materials
B. Pencil Techniques
C. Basic Forms

P79

III. Drawing from Objects

A. Drawing Still Life
B. Line, Stroke & Tone
C. Defining Forms
D. Exploring the Lines
E. Organizing Space
F. Interrelating Darks & Lights

V. Structure & Landscapes
A. Perspective Drawing
B. Landscape
C. Composition

Expected Outputs:
Still Life Drawings
Outdoor Sketches
Close-ups
Perspective Drawing


I. Anatomy and the Figure
A. Anatomy
B. Gesture Drawing
C. Contour Drawing
D. Full Figure Drawing
E. Figurative Composition

II. Portrait
A. Different Position of the Head
B. Different Portrait Position

Expected Outputs
Human Figure Sketches
Human Figure Composition
Nude Sketches
Portrait in Charcoal/Colored Pencil

P80


I. Pastel Rendering
A. Pastel Surfaces/Tools & Equipment
B. Basic Pastel Techniques
C. Pastel Etching
D. Exploring Pastel as Medium for Painting

II. Acrylic
A. Acrylic Surfaces/Tools & Equipment
B. Basic Acrylic Techniques
C. How to Paint with Acrylic
D. Mix Media and Collage

Expected Outputs
Pastel Rendering
Pastel Etching
Acrylic Painting


I. Observation, Abstraction & Expression
A. Natural & Everyday Objects
1. Still Life
2. Organizing Composition
3. Plants & Flowers
B. The Human Figure
1. How to Paint People
2. Composition & Design
3. Figure in Action
Figure in Abstraction
C. Natural and Constructed Environment
1. Landscape
2. Sources of Subject Matter
3. Organization and Composition
D. Non-Objective Art
1. Sources or Non objective Designs
2. Geometric Shapes/Cubism
3. Abstract Expressionism

Expected Outputs

Variety of Artworks with a variety of materials and techniques

P81


VISUAL ARTS II

I. Elements of Art and Principles of Design in Asian Art
A. Study of Chinese Paintings
B. Malaysian Batik Paintings
C. Indonesian Paintings

II. Working with Color
A. Color Theory/The Color Wheel
B. Tints & Shades
C. Using Contrast
D. Choosing Colors and Color Schemes
E. Communicating with Color

III. Painting Techniques
A. Tools & Materials
B. Washes
C. Brush Techniques
D. Brush and Color Manipulation Technique
E. Sponges and Knives

Expected Outputs:
Chinese Paintings
Water Color Drawings

I. Cartooning in Water Color
A. Cartoons in Action
B. Super Heroes
C. Caricature

II. Human Figure in Water Color
A. Nude Painting
B. Portraits

III. Commercial Arts
A. Monogram
B. Logo
C. Poster

Expected Outputs:
Cartoons in Water Color
Super Heroes
Portraits
Self-Caricature
Commercial Design

P82

I. Drawing Compositions
A. Landscapes
B. Perspective Drawings
C. Figures

II. Acrylic Painting
A. Wash Technique
B. Opaque technique

Expected Outputs:
Paintings
Wash
Opaque

I. Fundamentals in Folding Techniques
A. Symbols and Techniques

II. Puppets Making
A. Mask Creation
B. Puppets Creation with the use of folding techniques

III. Critical Response
A. Study of Visual Elements in Theaters

Expected Outputs:
Variety of Folds
Puppets

P83


VISUAL ARTS III

FIRST GRADING

I. The Ceramics Industries
A. Definition of Terms
B. Classification of Ceramics Products

II. History of Ceramics
A. Ceramics Development
1. Japanese and Korean Pottery
2. Italian Ceramics
3. Early German Ceramics
4. Danish Pottery
5. American Ceramics
6. Philippine Ceramics

III. Design in Clay Products
A. Definition
B. Criteria of Good Design in Clay
1. Function
2. Durability
3. Economy
4. Materials
5. Construction
6. Aesthetics

Expected Outputs
1. Modeling Tools
2. Loop Wire Tools
3. Clippings (Products of Ceramics)


I. Ceramics Materials
B. Composition of Clay
C. Classes of Clay
D. Qualities of Ceramics Clay
E. Kinds of Clay
II. Preparation of Clay
A. Dry Method
B. Wet Method
C. Chemical Process
D. Clay Body Composition

P84

III. Hand Production Method
B. Coil Method
C. Slab Method
D. Modeling Method
1. Modeling by Pinching
2. Modeling with Coils
3. Modeling with Slabs
E. Pressing Method
F. Clay Carving

Expected Outputs
1. Ashtray Pinch Method
2. Planter Coil Method
3. Wind Chime Slab Method
4. Animal Figure Modeling Method
5. Human Figure Modeling Method


I. CERAMICS DECORATION
1. Impressing
2. Mishima
3. Sgraffito
4. Engobes
5. Sprigging
6. Carving
7. Burnishing
8. Tool and Finger Marks
9. Slip Trailing

II. Molds and Mold Making
B. Types of Molds
1. One-Piece Mold
2. Two-Piece Mold
3. Multi-piece Mold
III. Industrial Production Process
A. Slip Casting

Expected Outputs
Slip Casting Process
1. Ashtray
2. Flower Vases
3. Candle Holder
4. Art ware/Figurines

P85


I. Glazes and Glaze Materials
A. Types of Glazes
B. Glaze Materials

II. Application of Glazes

III. Kiln Operation
A. Types of Kilns
B. Kiln Operation Principles
1. Bisque
2. Loading the Bisque
C. Firing Technique
1. Water Smoking
2. Dehydration
3. Oxidation
4. Vitrification
5. Cooling

Expected Outputs
Exhibit of All Finished Outputs
(Terra Cotta and Glazed)

REFERENCE:

Costales, Federico F. and Olson, Delmar W.
Ceramics for Schools and Industries in Developing Countries.

P86


VISUAL ARTS IV


I. Elements of Art and Principles of Design in Contemporary
A. Elements of Arts
B. Principles of Design

II. Project Creation Using the Principles of Design with Contemporary Art as Model
A. Expressionism
B. Cubism
C. Abstract Expression

Expected Outputs:
Expressionism Painting
Cubism Painting
Abstract Painting


I. Sculpture through Time in Contemporary
A. 3D Using Paper Mache
B. 3D in Mix Media
C. 3D in Indigenous Material

II. Pop Art
A. Comic Strip
B. Anime Illustration
C. Super Hero Creation

Expected Outputs:
3D Art
Cartoon Drawing
Super Hero Character


I. Study of Contemporary Architecture
A. Ancient Architecture that may be classified as cultural heritage
B. Architecture

P87

II. Identification of Architecture in the Locality
A. Collection of Local Architecture
B. Innovations in Architecture


I. New Media
A. Installation Art
B. Digital Art
C. Performance Art

Expected Outputs:
Installation Art arranged in space
Computer-generated art

P88

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