Music south Asia and Middle East
Hope this will help.
I just improvised for my limited face to face class.
Credit to the owner for the pictures I just grabbed.
Thank u.
East Asian Arts - MAPEH 8 (Arts 2nd Quarter)Carlo Luna
NOTE: Please download and install first the fonts listed at the end of the presentation.
2nd Quarter Grade 8 ARTS
East Asian Arts
A. Arts of Japan
B. Arts of China
C. Arts of Korea
* Painting
* Calligraphy
* Architecture
* Woodblock Printing
* Face Painting (Kabuki & Peking Opera)
* Mask Painting (Korea)
* Paper Arts (Paper Cutting, Paper Folding, Paper Kites)
* Knot Tying
This presentation is for those students or teachers who are looking for some PPT presentation for their class as a means of reference. This PPT is not really as good as what others expected to be, but take my word for it, this will help you. Enjoy learning!
Music of the Cordillera,Mindoro, Palawan and Visayas have similarities in terms of function of music in their daily lives. Music is often used in rituals and ceremonies. Most of their musical instruments are made from materials found in their locality.
Israel is a country in the Middle East, on the South Eastern Shore of the Mediterranean Sea and the northern shore of the Red Sea.
The country contains geographically diverse features within its relatively small area.
Israel's diverse culture origins from the diversity of its population: Jews from diaspora communities around the world have brought their cultural and religious traditions back with them, creating a melting pot of Jewish customs and beliefs.
Jerusalem, Israel's capital (population 788,100), has stood at the center of the Jewish people’s national and spiritual life since King David made it the capital of his kingdom some 3000 years ago.
The official languages of the country are Hebrew and Arabic, but in the country’s streets many other languages can be heard.
Music south Asia and Middle East
Hope this will help.
I just improvised for my limited face to face class.
Credit to the owner for the pictures I just grabbed.
Thank u.
East Asian Arts - MAPEH 8 (Arts 2nd Quarter)Carlo Luna
NOTE: Please download and install first the fonts listed at the end of the presentation.
2nd Quarter Grade 8 ARTS
East Asian Arts
A. Arts of Japan
B. Arts of China
C. Arts of Korea
* Painting
* Calligraphy
* Architecture
* Woodblock Printing
* Face Painting (Kabuki & Peking Opera)
* Mask Painting (Korea)
* Paper Arts (Paper Cutting, Paper Folding, Paper Kites)
* Knot Tying
This presentation is for those students or teachers who are looking for some PPT presentation for their class as a means of reference. This PPT is not really as good as what others expected to be, but take my word for it, this will help you. Enjoy learning!
Music of the Cordillera,Mindoro, Palawan and Visayas have similarities in terms of function of music in their daily lives. Music is often used in rituals and ceremonies. Most of their musical instruments are made from materials found in their locality.
Israel is a country in the Middle East, on the South Eastern Shore of the Mediterranean Sea and the northern shore of the Red Sea.
The country contains geographically diverse features within its relatively small area.
Israel's diverse culture origins from the diversity of its population: Jews from diaspora communities around the world have brought their cultural and religious traditions back with them, creating a melting pot of Jewish customs and beliefs.
Jerusalem, Israel's capital (population 788,100), has stood at the center of the Jewish people’s national and spiritual life since King David made it the capital of his kingdom some 3000 years ago.
The official languages of the country are Hebrew and Arabic, but in the country’s streets many other languages can be heard.
An introduction to Philippine Festival Dances (Religious and Secular Festival...Jewel Jem
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A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
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The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
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This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
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http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
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The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
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Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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Grade 7 art lg - module 8 - q4 visual in philippine drama and festivals
1.
2. 179
Module 8
Visual Arts in Philippine Drama and Festivals
Overview
The Filipinos are art loving
people. Our previous discus-
sions revealed the great in-
terests of our people in mak-
ing their lives artistic in var-
ied ways – through their or-
naments, farming imple-
ments, home and office de-
cors, fishing implements,
fighting armaments, and
more. These are evidences
of the Art of our people: rep-
resentations for the eyes to
enjoy. Our people love beau-
tiful and meaningful things.
Our psyche is designed for
art appreciation and art pro-
duction. We are people with
simple and natural taste for
the arts.
In this module, you will un-
derstand how the Filipinos
live with art. From the mo-
ment they are born up to the
moment that they pass this
life, Filipinos developed ways
of employing art in their
lives. Here, we will focus on
the visual arts as mirrored in
drama such as cenaculo, du-
plo, zarzuela, Santacruzan,
Lutrina, Subli, moro-moro,
and moriones.
3. At the end of this module, you are ex-
pected to:
understand that art is an integral
component of Philippine dra-
mas and festivities
create a motif using a particular
festival
analyze the unique forms, materi-
als, colors, and uses of the
arts in Philippine dramas and
festivals
identify unique features of differ-
ent festivals in each region
relate the visual components of
the festivals to the values, reli-
gious rituals, rites, and its
meaning in the life of the peo-
ple.
design sets, costumes, accesso-
ries, and props for a selected
play or festival
analyze a modern telenovela and
how it uses color, costume,
setting, props, accessories,
and in enhancing the elements
of a story.
In this module, you will you will apply
your knowledge and understanding in
the use of various art elements and prin-
ciples of design in associating meaning
with the visuals from Philippine drama
and festivals. You will also understand
the message and meaning created by art
elements and designs utilized by the
community in their festivals as way of
life.
180
Parts of a Drama
Exposition is an element of the story that tells
about the background of the situation.
Development in a story refers to the succession of
events and movements leading the situation to its
turning point.
Turning point in a story tells about the solutions
employed for conflicts as a result of difficult
decision-making.
Climax is the highest point of the story.
Denouement is the unraveling of the plot. In a
story. It gives the idea of how the character is dis-
covered or how a mystery is resolved or how
the unknown is revealed.
Conclusion is the ending of the story.
You will need the following in your school or
community or substitutes for these:
different colors of textiles (preferable satin)
cutting instruments
marking pens
adhesive materials
coloring materials
building materials (for sets)
photos or video clips of different Philippine
festivals
other materials of your choice
MODULE 8 GRADE 7 ART LEARNING GUIDE
4. Use the pictures below to check what have you
learned from the previous years.
This lesson is good for four sessions of 60 minutes each.
181
These are some of the forms of Philippine drama. Most of them are influenced by the
Christian faith but traces of local beliefs can often be seen. Can you describe each pic-
ture and its relevance to you? How do they influence you as an individual?
MODULE 8 GRADE 7 ART LEARNING GUIDE
5. MDULE 6 GRADE 7 ART LEARNING GUIDE
Traditional Drama
Before the coming of Spain, the Filipinos were already entertained by the elders –
they were the first storytellers narrating the great epics of their tribes, the legends sur-
rounding their place, the stories from distant lands, the lives of their gods and god-
desses, the conflict between the good and the evil, and almost every aspect of life.
Other groups found it more entertaining to employ music, costume, and accessories to
these stories such as the Sakuting dance in the south that narrates a story of a princess,
who in search for her prince ventured into the dangerous forest passing through differ-
ent obstacles along her way. In the North, the people of Cordillera are often entertained
by village storytellers who are chanting the stories of their gods and ancestors as in the
Hudhud.
In the lowland, Christianized communities, dramas find its new setting in re-
enacting the lives of the saints, the life and death of Jesus, the miracles of the Virgin
Mary, and in the battles between the Christians and the Moslems. The Santacruzan for
example dramatizes the search of Empress Elena for the Holy Cross; Lutrina is similar
to Santacruzan but it is celebrated by the farmers asking for rains to water their crops.
Equally similar is the Subli in Alitagtag and Bauan in Batangas which is set into dance
and music narrating the search for the Holy Cross. The actions in each canto narrate the
odds encountered by the person who searched for the wooden cross. Although Chris-
tian in manner, it is still noticeable that the Filipinos adapted the new religion to en-
hance their old beliefs. Drama in the Philippines may have evolved also from early reli-
gious rituals that involve chanting and dancing. In Obando, Bulacan, dancing is asso-
ciated with fertility rites of the early Filipinos as observed in the archaeological dig-
gings in Pila, Laguna. The Santa Clara dance dramatizes the desire for the gods to send
or not to send rains for the crop as well as the Karakol dance. The Putong and Tobong
dances of Marinduque and coastal municipalities of Quezon facing Marinduque are ac-
tually forms of drama set into music. The text of Tobong narrates how the three kings
(Gaspar, Melchor and Balthazar) searched for the birthday celebrant to give their felici-
tations and gifts which is similar to the story of the three kings during the Yuletide sea-
son. As we examine those dances, we will discover the underlying drama narrated
through dance and spectacles.
182
6. MODULE 8 GRADE 7 ART LEARNING GUIDE
Cenaculo, a drama about the life, passion, and
death of Jesus Christ usually set in the town plaza is
actually a communal affair because it uses the entire
community as the actors and the spectators as
equally significant part of the drama. This Lenten tra-
ditional drama uses European-inspired clothes par-
ticularly the Roman centurions, the attires of the Jews
and the disciples. This, including the Pabasa ng
Pasyon, is among the highlights of Lenten celebration
in Christian Philippines.
Moro-moro is a bloody skirmish between the
Christians and the Moslems. This immortalizes the
conflict of the Spain with the Moors as narrated in the
national epic of Spain, El Cid. This could have
originated with the long time conflict between the
converts to Christianity and the Moslems in the south
or the old tradition of pangangayaw or raids. That is
why this form of drama gained acceptance among the
Christian population.
Dupluan, a form of game can also be classified
as drama because it narrates a story often of a king
seeking for something among his loyal servants. This
tells us that the trustworthy are often rewarded while
the offenders are always punished.
With the above forms of drama in the
Philippines, it can be deduced that the plot and per-
formance is the essential element of every Philippine
drama. Major characters are often portrayed with extra-
special roles, status, or experience, almost revered,
edified, and idolized while enjoining the audiences as
participants. There is always a protagonist and an
antagonist. In some traditional drama, such as in
cenaculo, the audience themselves are members of
the cast; they set the tone and the mood of the story.
They are part in the development of the story from
exposition to conclusion. Setting and theme are often
defined and merged with the community. Spectacles
are often simple. The music is supplied by the
audience although there is already an accompaniment.
Traditional dramas are often characterized with poetic
dialogues and evocative mood. They aimed at
expressing intense feelings and emotions that will
make the audience cry, laugh, or even hate.
183
Moro-moro dancers . The dance
dramatizes the conflict between the
Christians and the Moors introduced by
the Spaniards in the Philippines.
A man reading the Pasyong Mahal
commemorating the life, passion, and
death of Jesus Christ during Lenten
Season. Pasyon is usually sang.
7. MODULE 6 GRADE 7 ART LEARNING GUIDE
Modern Drama
During the American period,
zarzuela became popular. National Artist
Atang dela Rama was among the popular
zarzuelistas. It is a form of drama with
music and acting that evolved from Latin
influences of Spain and Mexico and the
Broadway performances and vaudevilles
of the Americans. Zarzuelas dominated
the Philippine theatres during the Ameri-
can regime and these theatrical perform-
ances made Philippine drama more inter-
esting and western in character but very-
Filipino in spirit.
Modern drama in the Philippines
evolved from radio drama in the mid-20th
century and found new grounds in
Philippine television. From soap operas
and Mexican novelas, the Filipinos cre-
ated the telenovela, fantaserye, and epic
serye. Dubbing became popular also in
the later part of the 20th
century and early
21st
century. Filipino dubbers made
Mexican and Korean novelas more
interesting to Filipino viewers by translat-
ing foreign dialogue into Tagalog.
184
An actress as zarzuelista
8. 185
Traditional Drama Analysis
Make a drama analysis of the traditional
drama found or practiced in your community.
Remember that traditional drama may have dis-
guised themselves through dances. You can
only understand that these dances are dramas
set into music and seasoned with movements.
Use the guide below to describe each element:
MODULE 8 GRADE 7 ART LEARNING GUIDE
Title of the Drama: _______________________________________
Author: ________________________________________________
Place of Origin: __________________________________________
Element Manifestations
Plot or Action (Look for the exposition, de-
velopment, turning point, climax, denoue-
ment, and conclusion of the story)
Characters (Identify the protagonist and
antagonist)
Setting (Describe the setting or place
where the story happened)
Theme (What is the meaning of the story)
9. Use the pictures below to check what have you
learned from the previous years.
This lesson is good for 4 sessions or 240 minutes.
186
Can you tell what province celebrates these festivals are? Describe the festivals.
MODULE 8 GRADE 7 ART LEARNING GUIDE
10. MODULE 6 GRADE 7 ART LEARNING GUIDE
Festivals are delightful events for the Filipinos – we are all feast-loving people.
We love to celebrate almost every aspect of our existence – from birth to death. We have
birthday celebrations, wakes for the dead , marriage feasts, and others.
Our life is surrounded by festivals. Our festivities are our expression of
thanksgiving and celebration for the blessings from God.
In almost every barangay, sitio or district, there is a fiesta in honor for a particular
patron saint. There are municipalities with many fiesta celebrations all year round. For
example, the Turumba Festival in Pakil is the longest religious festival in the country. In
Lucban, Pahiyas is in honor of their patron saint, San Isidro Labrador. In some mu-
nicipalities of Quezon, the festival features different products and celebrated dif-
ferently from each other although the theme is the same. In Cebu, Sinulog is in honor of
Senior Sto. Nino which is also celebrated in Pista ng Itim na Nazareno in Quiapo.
Other festivals are geared towards cultural preservation and tourism such as the
Panagbenga in Baguio City, Ati-Atihan in Aklan, Binirayan in Antique, Dinagyang in Iloilo,
Kadayawan in Davao, Maskara in Bacolod, Kasadyaan in Tacloban, Moriones in
Marinduque, Sorteo in Carmona, Cavite, Lechon in Batangas, Boling-boling in
Catanauan, Quezon, Kakanindayog and Wagayway in Imus, Lubi-lubi in Negros,
Coramlan in Alaminos, Bangus in Pangasinan, and thousands of others. It is only in the
Philippines that every municipality celebrates its own festival annually in addition to
provincial-wide and regional-wide festivals organized by the Department of Tourism.
Each festival is unique. Flowers and ornamentals dominate the Panagbenga, kip-
ing in the Pahiyas, colors and paints in Maskara, Ati-atihan and Sinulog, and products in
other festivals. Several festivals are profit-oriented; others are religious in spirit; while
others are festivals for a cause. No matter what type of festival is celebrated, the impor-
tant element is that the community is united in these festivals.
.
187
11. 188
You will make the following
materials:
cardboards
adhesive materials
cutting materials
bird’s feathers
glitters
MODULE 8 GRADE 7 ART LEARNING GUIDE
Making your Own Maskara
Procedures:
1. Draw a face that will serve as base
of your maskara using a cardboard.
2. Cut the edges of the drawing and
work on the designs.
3. Use glue or any adhesive that fits to
your needs.
4. Add accents to your maskara using
bird’s feathers and glitters, beads
and buttons and found objects.
13. 190
Using the Philippine map, list down all the festivals you know indicating their place of
origin.
MODULE 8 GRADE 7 ART LEARNING GUIDE
14. 191
SCHOOL FESTIVAL OF TALENTS
Participate in a school festival that your teacher will organize for you. Your teacher
will group and assign you to a particular province or region. It is up to your group
how you will represent the assigned region. Use your creativity in designing sets,
costume, accessories, or props as may be required in your assignment. Your
teacher will develop criteria to grade your participation and performance in this activ-
ity.
MODULE 8 GRADE 7 ART LEARNING GUIDE
15. 192
(2011) Karakol 2011: A dance for thanksgiving, honor, and sacrifice. Published in
The Caballeros, Imus National High School – Alapan Annex.
Estolas, Josefina V., Javier, Clarita G. & Pada-Payno, Nieves. (1995). Introduction
to Humanities (Art for Fine Living). National Book Store: Mandaluyong City.
Van de Bogart, Doris. (1970). Introduction to the humanities (Painting, sculpture, ar-
chitecture, music, and literature). Barnes and Noble Everyday Handbooks:
New York, reprinted in the Philippines by National Book Store: Mandaluyong
City.
Zulueta, Franciso M. (2003). The humanities: Revised Edition. National Book Store:
MODULE 8 GRADE 7 ART LEARNING GUIDE