Division of City Schools

GENERAL SANTOS CITY SPED INTEGRATED

SCHOOL
Brgy. San Isidro General Santos City

PROJECT IN ARTS
Festival and Theater Plays of Japan,
Thailand, Indonesia, and China

Submitted to:
Teacher Ierine Joy L. Caserial

Submitted by:
Gener Tagalog
Angel Latumbo
Laila Nikkiza Salvador
Paula Nicole Martin
Fernan Carls Calsenia
Sean Catolico
FESTIVAL PLAYS OF
JAPAN, THAILAND,
INDONESIA, AND
CHINA
Spring/New Year Festival of China

The Spring Festival is the most important festival for the Chinese people and is
when all family members get together, just like Christmas in the West. All people
living away from home go back, becoming the busiest time for transportation
systems of about half a month from the Spring Festival. Airports, railway stations
and long-distance bus stations are crowded with home returnees.
The Spring Festival falls on the 1st day of the 1st lunar month, often one month
later than the Gregorian calendar. It originated in the Shang Dynasty (c. 1600 BC-c.
1100 BC) from the people's sacrifice to gods and ancestors at the end of an old
year and the beginning of a new one.
Strictly speaking, the Spring Festival starts every year in the early days of the 12th
lunar month and will last till the mid-1st lunar month of the next year. Of them,
the most important days are Spring Festival Eve and the first three days. The
Chinese government now stipulates people have seven days off for the Chinese
Lunar New Year.
Many customs accompany the Spring Festival. Some are still followed today, but
others have weakened.
On the 8th day of the 12th lunar month, many families make laba porridge, a
delicious kind of porridge made with glutinous rice, millet, seeds of Job's tears,
jujube berries, lotus seeds, beans, longan and gingko.
The 23rd day of the 12th lunar month is called Preliminary Eve. At this time,
people offer sacrifice to the kitchen god. Now however, most families make
delicious food to enjoy themselves.
After the Preliminary Eve, people begin preparing for the coming New Year. This is
called "Seeing the New Year in".
Store owners are busy then as everybody goes out to purchase necessities for the
New Year. Materials not only include edible oil, rice, flour, chicken, duck, fish and
meat, but also fruit, candies and kinds of nuts. What's more, various decorations,
new clothes and shoes for the children as well as gifts for the elderly, friends and
relatives, are all on the list of purchasing.
Before the New Year comes, the people completely clean the indoors and
outdoors of their homes as well as their clothes, bedclothes and all their utensils.
Then people begin decorating their clean rooms featuring an atmosphere of
rejoicing and festivity. All the door panels will be pasted with Spring Festival
couplets, highlighting Chinese calligraphy with black characters on red paper. The
content varies from house owners' wishes for a bright future to good luck for the
New Year. Also, pictures of the god of doors and wealth will be posted on front
doors to ward off evil spirits and welcome peace and abundance.
The Chinese character "fu" (meaning blessing or happiness) is a must. The
character put on paper can be pasted normally or upside down, for in Chinese the
"reversed fu" is homophonic with "fu comes", both being pronounced as
"fudaole." What's more, two big red lanterns can be raised on both sides of the
front door. Red paper-cuttings can be seen on window glass and brightly colored
New Year paintings with auspicious meanings may be put on the wall.
People attach great importance to Spring Festival Eve. At that time, all family
members eat dinner together. The meal is more luxurious than usual. Dishes such
as chicken, fish and bean curd cannot be excluded, for in Chinese, their
pronunciations, respectively "ji", "yu" and "doufu," mean auspiciousness,
abundance and richness. After the dinner, the whole family will sit together,
chatting and watching TV. In recent years, the Spring Festival party broadcast on
China Central Television Station (CCTV) is essential entertainment for the Chinese
both at home and abroad. According to custom, each family will stay up to see the
New Year in.
Waking up on New Year, everybody dresses up. First, they extend greetings to
their parents. Then each child will get money as a New Year gift, wrapped up in red
paper. People in northern China will eat jiaozi, or dumplings, for breakfast, as they
think "jiaozi" in sound means "bidding farewell to the old and ushering in the
new". Also, the shape of the dumpling is like gold ingot from ancient China. So,
people eat them and wish for money and treasure.
Southern Chinese eat niangao (New Year cake made of glutinous rice flour) on this
occasion, because as a homophone, niangao means "higher and higher, one year
after another." The first five days after the Spring Festival are a good time for
relatives, friends, and classmates as well as colleagues to exchange greetings, gifts
and chat leisurely

The dragon dance is often performed during Chinese New Year. Chinese dragons
are a symbol of China, and they are believed to bring good luck to people,
therefore the longer the dragon in the dance, the more luck it will bring to the
community.
The dragon dance is performed by a skilled team whose job is to bring the
motionless body to life. The correct combination and proper timing of the
different parts of the dragon are very important to make a successful dance. Any
mistakes made by even some of the performers would spoil the whole
performance. To be very successful in the dance, the head of the Dragon must be
able to coordinate with the body movement to match the timing of the drum.
Performing in a dragon dance team incorporates several elements and skills; it is
something of a cross-over activity, combining the training and mentality of a sports
team with the stagecraft and flair of a performing arts troupe. The basic skills are
simple to learn, however, to become a competent performer takes dedicated
training until movements become second nature and complex formations can be
achieved.
Bali Dance Festival of Indonesia

Balinese dances are a very ancient dance tradition that is a part of the religious
and artistic expression among the Balinese people. In Hinduism, dance is an
accompaniment to the perpetual dissolving and reforming of the world. The
creative and reproductive balance is often personified as Shiva’s wife, Durga,
sometimes is called Uma, Parvati, or Kali. This has significance in Balinese
Hinduism, since the common figure of Rangda is similar in many ways to Durga.
In Bali there are various categories of dance, including epic performances such as
the universal Mahabharata and Ramayana. Certain ceremonies at village temples
feature a special performance of a dance drama, a battle between the mythical
characters Rangda, the witch representing evil and Barong, the lion or dragon,
representing good. Among the dance traditions in Bali, these terms deserve special
mention: Barong, the lion: Legong, a refined dance form characterized by intricate
finger movements, complicated footwork, and expressive gestures and facial
expressions; and Kecak, a form of Balinese dance and music drama, it originated in
the 1930’s in Bali performed primarily by men.
Bali dancers learn the craft from their mothers as soon as they are born. In the
womb, they are played the Balinese music and are taught to dance with their
hands before they can walk. Official training as a Bali dancer starts as young as
seven. In Balinese dance the movement is closely associated with the rhythms
produced by gamelan, a musical ensemble specific to Java and Bali.
Multiple levels of articulations in the face, eyes, hands, arms, hips, and feet are
coordinated to reflect layers of percussive sounds. The number of codified hand
positions and gestures, the mudras, is higher in India than in Java and Bali. Hand
positions and positions are nonetheless as important in Javanese and Balinese
dance as in India. Whether in India, Indonesia, or Cambodia, hands are typically
ornamental role and emphasize the dance’s delicate intricacy
Legong dancer- Balinese dances incorporate eye and facial expressions.

Men dancing the Kecak, money dance.

Male Bali Dance Costume Female Bali Dance Costume

Kodo Taiko Drum Festival of Japan

A good example of a professional taiko drumming troupe is the Kodo. They are
based in Sado Island, Japan, and they had a big role in popularizing taiko
drumming, both in Japan and abroad. They regularly tour Japan, Europe, and the
United States.
Their name, "Kodo" conveys two meanings:
1. "heartbeat" the primal source of all rhythm and, read in a different way,
2. "children” of the drum," a reflection of Kodo's desire to play their drums simply,
with the heart of a child.
The main focus of the performance:
· Uchite is the Taiko drummer
· Different drums
· other traditional Japanese musical instruments such as fue and shamisen make
an appearance on stage
· traditional dance and vocal performance are part of the performance
· include pieces based on the traditional rhythms of regional Japan, pieces
composed for Kodo by contemporary songwriters, and pieces written by Kodo
members themselves
· The Kodo's performances normally last for about one hour and forty minutes.
HISTORY:
Drums were used in ancient times to signify the boundaries of a village.
· Peasant events such as the rice harvests or dance festivals were celebrated with
drums.
· Drums were used to pray for rain and other religious ceremonies.
· Drums lead warriors into battles in order to scare off the enemy.
Loi Krathong and Yi Peng of Thailand

Loi Krathong (Thai: ลอยกระทง, pronounced [lɔ̄ːj krā.tʰōŋ]) is a Siamese festival

celebrated annually throughout the Kingdom of Thailand and in nearby countries
with significant southwestern Tai cultures (Laos, Shan, Mon, Tanintharyi, Kelantan,
Kedah and Xishuangbanna). The name could be translated as "to float a basket,”
and comes from the tradition of making krathong or buoyant, decorated baskets,
which are then floated on a river.
Loi Krathong takes place on the evening of the full moon of the 12th month in the
traditional Thai lunar calendar, thus the exact date of the festival changes every year. In
the Western calendar this usually falls in the month of November. In Chang Mai, the
festival lasts three days, and in 2018, the dates will be 21–23 November.
In Thailand, the festival is known as "Loi Krathong" (ลอยกระทง). Outside Thailand, this
festival is celebrated under different names, including Myanmar as the "Tazaungdaing
festival", Sri Lanka as "Il Full Moon Poya" and Cambodia as "Bon Om Touk".

A hand-made krathong, made from banana

tree trunk and banana leaves, held together
with pins, and decorated with flowers.

Fireworks and large rafts on the Chao

Phraya River, Loi Krathong Festival of
Light, Bangkok, Nov 2004
According to the Royal Institute Dictionary 1999, loi (ลอย) means "to float", while
krathong (กระทง) has various meanings, one of which is "a small container made of
leaves which can be floated on water during the Loi Krathong festival". Krathong is
traditionally a small leaf container which is made to hold a small portion of goods like a
traditional Thai dish (such as "Hor Mok") or dessert. The traditional krathong used for
floating at the festival are made from a slice of a banana tree trunk or a spider lily plant.
Modern krathongs are more often made of bread or Styrofoam. A bread krathong will
disintegrate after a few days and can be eaten by fish. Banana stalk krathong are also
biodegradable, but Styrofoam krathongs are sometimes banned, as they pollute the
rivers and may take years to decompose. A krathong is decorated with elaborately-
folded banana leaves, three incense sticks, and a candle. A small coin is sometimes
included as an offering to the river spirits.
On the night of the full moon, Thais launch their krathong on a river, canal or a pond,
making a wish as they do so. The festival may originate from an ancient rural ritual
paying respect to the water spirits. The floats are thought to have been introduced to
Chiang Mai in 1947 and have since been incorporated into local culture.
Government offices, corporations, and other organizations launch large decorated
krathongs. There are competitions for the best of these large krathongs. A beauty
contest is a regular feature and fireworks have become common in recent years.
Loi Krathong is often claimed to have begun in the Sukhothai by a court lady named
Nopphamat. However, it is now known that the Nopphamat tale comes from a poem
written in the early Bangkok period. According to King Rama IV, writing in 1863, it was a
Brahmanical festival that was adapted by Thai Buddhists in Thailand to honor the
Buddha, Prince Siddhartha Gautama. The candle venerates the Buddha with light, while
the krathong's floating symbolizes letting go of all one's hatred, anger, and defilements.
People sometimes cut their fingernails or hair and place the clippings on the krathong as
a symbol of letting go of past transgressions and negative thoughts. Many Thais use the
krathong to thank the Goddess of Water, the Hindu Goddess Ganga, Phra Mae
Khongkha (Thai: พระแม่คงคา).
The beauty contests that accompany the festival are known as "Nopphamat Queen
Contests". According to legend, Nang Nopphamat (alternatively spelled as "Noppamas"
or "Nopamas") was a consort of the 13th century Sukhothai king Sri Indraditya (who is
also known as Phra Ruang) and she had been the first to float a decorated raft.[10]
However, this is a new story which was invented during the first part of the 19th
century. There is no evidence that a Nang Nopphamat ever existed. Instead, it is a
matter of fact that a woman of this name was the leading character of a novel released
at the end of the reign of King Rama III, around 1850 CE. Her character was written as
guidance for all women who wished to become civil servants.
Kelantan in Malaysia celebrates Loi Krathong similarly, especially in the Tumpat area.
The ministry in charge of tourism in Malaysia recognizes it as an attraction for tourists.
Many people visit the celebration each year.

Loi Krathong coincides with the Lanna(northern Thai) festival known as Yi Peng. Yi
means 'two' and peng means a 'full moon day'. Yi Peng refers to the full moon day in the
second month according to the Lanna lunar calendar (the twelfth month of the Thai
lunar calendar).[11] The festival is meant as a time to make merit.
Swarms of sky lanterns (khom loi), literally: 'floating lanterns', are launched into the air.
Khom loi are made from a thin fabric, such as rice paper, stretched over a bamboo or
wire frame, to which a candle or fuel cell is attached. When the fuel cell is lit, the
resulting hot air is trapped inside the lantern and creates enough lift for the khom loi to
float into the sky.
According to the Bangkok Post, the association of lanterns with the November festivities
is a relatively recent phenomenon, dating back to the first decade of the 21st century,
when introduced by local tourism authorities.
During the festival, some people also decorate their houses, gardens, and temples with
khom fai, (intricately shaped paper lanterns which take on different forms. Khom thue,
are lanterns which are carried around hanging from a stick, khom khwaen are the
hanging lanterns, and khom, which are placed at temples and which revolve due to the
heat of the candle inside. The most elaborate Yi Pengcelebrations can be seen in Chiang
Mai, the ancient capital of the former Lanna kingdom, where now both Loi Krathong and
Yi Peng are celebrated at the same time resulting in lights floating on the waters, lights
hanging from trees/buildings or standing on walls, and lights floating in the sky. The
tradition of Yi Peng was also adopted by certain parts of Laos during the 16th century.
THEATER PLAYS OF
JAPAN, THAILAND,
INDONESIA, AND
CHINA
Peking Opera of China

China is known for their traditional theater art form, the Peking Opera or Beijing Opera
which combines music, vocal performance, pantomime, dance, and acrobatics. It started
in the late 18th century and became fully developed and recognized by the mid-19th
century.
During the Qing Dynasty court it became extremely popular and came to be regarded as
one of the cultural treasures of China.
Pupils were often handpicked at a young age by a teacher and trained for seven years
on contract from the child's parents. After 1911, training took place in more formally
organized schools.
Students at these schools rose as early as five o'clock in the morning for exercises.
Daytime was spent learning the skills of acting and combat, and senior students
performed in outside theaters in the evening.
Characters:

Sheng- is the main male role in Peking opera

Wusheng is a martial character for roles involving combat.

They are highly trained in acrobatics, and have
a natural voice when singing.
 Laosheng is a dignified older role, these characters have a
gentle and cultivated disposition, and wear sensible
costumes.

Dan - refers to any female role in Peking opera.

Laodan is an old woman

Wudan is a martial woman

Daomadan are young female warriors

Qingyi are virtuous and elite women

 Huadan are vivacious and unmarried women

Jing is a painted face male role who plays either primary or secondary roles. This
type of role entails a forceful character, which means that a Jing actor must have a
strong voice and be able to exaggerate gestures. The red color denotes loyalty and
goodness, white denotes evil, and black denotes integrity.

Chou is a male clown role. The Chou usually plays secondary roles whose name also
means "ugly". It reflects the traditional belief that the clown's combination of
ugliness and laughter could drive away evil spirits.
Wayang Kulit of Indonesia

Wayang refer to kinds of puppet theaters, sometimes the puppet itself is referred to as
wayang. Performances of shadow puppet theaters are accompanied by a Gamelan
orchestra in Java, and by Gender Wayang in Bali.
Wayang Kulit, or shadow puppets, are without a doubt the best known of the
Indonesian Wayang. Kulit means skin, and refers to the leather construction of the
puppets that are carefully shaped with very fine tools and supported with carefully
shaped buffalo horn handles and control rods.
It was given recognition as a Masterpiece of Oral and Intangible Heritage of Humanity
on November 7, 2003 by UNESCO and required Indonesians to preserve their heritage.
The stories are usually drawn from the Hindu epics:
1. Ramayana
2. Mahabharata
3. Serat Menak - a story about the heroism of Amir Hamza

Wayang Kulit Performance consists of shadows cast on a cotton screen and an oil lamp.
· In Java, most often used as a light source is a halogen electric light
· Wayang Sandosa has employed spotlights, colored lights and other innovation
Handwork Making
1. They start from master models (typically on paper) which are traced out onto skin or
parchment, providing the figures with an outline and with indications of any holes that
will need to be cut (such as for the mouth or eyes).
2. The figures are then smoothed, usually with a glass bottle, and primed. The structure
is inspected and eventually the details are worked through. A further smoothing follows
before individual painting, which is undertaken by yet another craftsman.
3. Finally, the movable parts (upper arms, lower arms with hands, and the associated
sticks for manipulation) are mounted on the body, which has a central staff by which it
is held.
Kabuki of Japan

Kabuki is a form of traditional Japanese drama with highly stylized song, mime, and
dance, now performed only by male actors.
Japanese, originally as a verb meaning “act dissolutely,’ later interpreted as: ka – song,
bu – dance and ki – art/skill.
Kabuki theater is known for the stylization of its drama and for the elaborate make-up
worn by some of its performers. Kabuki is therefore sometimes translated as "the art of
singing and dancing".
Since the word kabuki is believed to derive from the verb kabuku, meaning "to lean" or
"to be out of the ordinary", kabuki can be "bizarre" theater. The expression kabukimono
referred originally to those who were bizarrely dressed and paraded on a street.

Hanamichi- a flower path, a walkway which extends into the audience and via which
dramatic entrances and exits are made; Okuni also perform on a hanamichi stage with
her entourage.
· Magicians and supernatural beings often make their entrances from trap doors in the
hanamachi.
· Some stages have 17 trapdoors.
Kogakudo- kabuki theaters that have stages both in front of the audience and along the
sides help create a bond between the actors and viewers
Mawaro butal- the interior of the theater contains a revolving stage
Suppon -a platform that rises from below the stage
Hanamicho – a walkway that cuts through the audience seating area to connect the
stage with the back of the theater

MAIN CATEGORIES OF KABUKI PLAY:

· jidai-mono- historical, or pre-Sengoku period stories
Jidaimono, or history plays, were set within the context of major events in Japanese
history. Strict censorship laws during the Edo period prohibited the representation of
contemporary events and particularly prohibited criticising the shogunate or casting it in
a bad light, although enforcement varied greatly over the years.
· sewa-mono- domestic, or post-Sengoku stories and
Sewamono focused primarily upon commoners (townspeople and peasants). It is
generally related to themes of family drama and romance.
· shosagoto - dance pieces
Nang Shadow Puppetry of Thailand

Shadow puppet (Thai: Nang) was one form of public entertainment in the south of
Thailand. It is still very popular at village festivals, temple fairs, and celebrations such as
marriages. Its characters are made from intricately cut out and articulated shapes of
leather.

They are delicately colored, but this does not show during a performance as the puppets
appear only in shadow against a white sheet, with light shining through from behind.
They are manipulated with rods that control movements of the arms and legs. The
puppets are colorful but they really do not have to be because you only see the black
shadows.

The performance of large shadow puppet is traditionally held in open spaces such as a
lawn or village dirt space. The main components of Nang Yai are a 6 by 16 white screen
held by four bamboo or wood poles on each side. The screen is trimmed by red strip.
Behind the screen strands a tinder or a bonfire lit up to reflect the shadows of the
puppet. During the course of the show, there is a Thai music band (usually a piphat
group) that plays music in accordance with each episode of the performance. Also
important in each shadow is a dubber, whose tradition continued to be of importance in
film dubbing. The puppet figures are made from perforated cow or buffalo hide, each
weighing about three or four kilograms. The biggest puppet is one which characterizes a
place, weighing around five to seven kilograms.