Republic of the Philippines

NORTHERN ILOILO POLYTECHNIC STATE COLLEGE

School of Education
Estancia, Iloilo

LABORATORY JUNIOR HIGH SCHOOL

Arts 8
Quarter 4

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 Module 3: Elements and Principles of Arts in
Philippine Festivals

Lesson
Elements and Principles of
1 Art in Philippine Festivals
Asia is rich in festivals that showcase the culture and traditions of every
country of the region. The Philippines is one of the Asian countries with a variety of
celebrated festivals that either explains the existence of the locality, celebrates an
event, or promotes local goods. It is done with colorful parades and dances to honor
a patron saint. In the Philippines, it is also a way to commemorate historical
events, to give thanks for a bountiful harvest or a blessed circumstance, or to
showcase local indigenous peoples, their rites and rituals, their skills and products,
and their traditions.

What’s In
Tracing back history, theatrical and festival arts are recognized to be
archaic. These include religious rituals, imitation of nature and animals, martial
arts and storytelling. Later, these arts evolved as stylized theatrical and festival
conventions and behavior codes were added.

Today, theater and festival arts have gone with the trend. Even Philippine
festivals have adapted not only Asian influences but also Western. This evolution was
applied to the elements and principles of our festival arts to improve the quality of arts
as it adapts new styles, expressions and techniques. Before we proceed this module,
let’s have a review on your previous topic by taking the next activity.

Column A Column B
1. This is a theatrical art that is primarily performed by
women but later performed by men dressed like a
woman.
A. Kabuki
2. This festival was originally held as a sacrificial
B. Nang
ceremony that honors gods and ancestors at the
C. Taiko
beginning or the end of each year.
D. Loi Krathong
3. This is Thailand’s old way of storytelling using puppets.
E. Chinese New Year
4. A festival that uses drums which are originally used as
a warning signal.
5. A festival that honors the Thai’s goddess of water.

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What is It
In this module, you will learn to appreciate the Philippine festivals as it is
celebrated in different places. You will also learn how the elements and principles
of the Philippine festival arts contribute to exhibit Philippine culture. You might
consider Ati-atihan, Sinulog, Dinagyang, Higantes, Kadayawan, Maskara,
Moriones, Pahiyas, Panagbenga and Giant Lantern as Philippine festivals but
nothing more. Now, it is your time to learn, appreciate and discuss the elements
and principles of these Philippine festival arts.

Known Philippine Festivals

Ati-atihan of Aklan

Ati-atihan Festival is a prestigious

event held in Kalibo, Aklan in the island
of Panay. This is celebrated every third
Sunday of January to honor Santo Niño
or the little Jesus. Ati-atihan got its name
from the word ‘Ati’ which locally means
‘Aeta’, the first settlers of Panay Island.
Ati-atihan is done by imitating the Aeta
people.

Originally, Ati-atihan was labelled as a pagan celebration as it is just a

commemoration of the barter system the Aetas had with the Borneans. Later on,
Spanish missionaries introduced Christianity and that made Ati-atihan not just a
cultural event but a religious festival as well. In every procession and parade, Santo
Niño’s image is the most important element of the festival as it symbolizes their
transition to Christianity. Today, ‘The Mother of All Philippine Festivals’ recaptures
the march of the early Aetas of Aklanin native attire while performing to the upbeat
tune of traditional dances and music.

Sinulog of Cebu

As the ‘Queen City of the South’, Cebu is anticipated to prestigiously

celebrate its annual Sinulog-Santo Niño Festival every 3rd Sunday of January. Cebu
is the center of the Santo Niño Catholic celebrations in the Philippines and Sinulog
the first of most popular festivals in the Philippines.

Sinulog Festival got its name from the local word ‘sulog’ which means ‘like
water current movement’ as it describes the forward-backward choreography of the
Sinulog dance. History says that the dance was originally to honor the natives’

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animist idols. But in 1521, Magellan, a Spanish
expeditor, introduced Christianity to the natives
that made the transition of Sinulog from
paganism to a ritual prayer dance that honors
Santo Niño or the child Jesus.

Marking its difference from another

popular festival, the Ati-atihan in Aklan, the
Sinulog focuses not on the ritual itself but on
the historical aspects as well. It dramatizes the
coming of the Spaniards and the presentation of
the Santo Niño to the Queen Juana of Cebu.
‘Sinulog Festival Queen’ is another event and theme of the festival that portrays
Queen Juana holding the Santo Niño in her arms and using it to bless her people
who were often afflicted with sickness believed to be caused by demons and other
evil spirits. Today, Sinulog Festival is celebrated not only by the Filipinos but by
the foreign revelers as well with street parties.

Dinagyang of Iloilo

Dinagyang Festival of Iloilo City was

dubbed as the ‘Queen of all Festivals’ in
the Philippines for its world class feat.
Along with the festivals held on January,
like Ati-atihan of Aklan and the famous
Sinulog of Cebu, Dinagyang is also a
religious celebration that honors Santo
Nino or the child Jesus. It is held after the
two mentioned festivals or on the fourth
Sunday of January.

The festival was actually patterned from the Ati-atihan of Aklan by which the
feast of the acceptance of Christianity originated. The devotion began when the
replica of the image of Santo Niño de Cebu was brought to Iloilo. The reception was
done with a parade from the Iloilo airport down to the streets of the city.

The highlight of the festival showcases the talents of students from different
schools of various towns and cities of Iloilo. But later on, the confinement of the
provincial event ended as they start accepting entries from other provinces of the
region that showcases the rich heritage of the Western Visayas. Today, Dinagyang
exhibits the excellence of dance choreography and rejoices the conversions from
paganism.

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Higantes of Angono

Higantes is a local festival

annually celebrated every 23rd of
November in Angono, Rizal. The word
‘Higantes’ is locally translated as
‘Giants’ in which the festival is
famous for. It is known for its Parade
of Papier-Mâché Giants that are
mirroring men and women in various
costumes with commanding looks on
their faces and hands on their waists.
The papier-mâché giants or
caricatures are said to mock the hacienda owners to remind the locals of the time
when Angono town was administered as a hacienda where only one festival was
only allowed to be held annually.

The festival is also religiously celebrated to honor Saint Clement, the patron
saint of Angono, Mariners and Fishermen, for the bountiful marine harvest. The
local government will hold a fluvial procession (following a street procession) where
the float, locally known as ‘Bangka ni San Clemente’ will take port at the end of the
Angono River. Male devotees carry the image of the patron saint during the
procession accompanied by ‘pahadores’ or devotees dressed in colourful local
costumes, wooden shoes and carrying boat paddles.

Kadayawan of Davao

Davao City is not only known for its durian industry but also for its annual
Kadayawan Festival celebration. The festival’s name was derived from the local
word ‘madayaw’ which carries many meanings like good, valuable, superior or
beautiful. Thus, Kadayawan Festival is labelled as a Thanksgiving event. The
annual festivity was originally celebrated every third week of August but then
announced extended and celebrated from 2nd to 31st day of August in 2019.

Today, Kadayawan Festival’s

theme is about celebrating the
bountiful harvest of tropical fruits. It is
also done to ask for the protection of
Philippine eagles and waling-waling
orchids that is known in the city. The
revelers are anticipating the success of
the festival highlight, the street dance
competition or locally named as ‘I-
indak sa kadalanan’.

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Masskara of Bacolod

Masskara Festival (also known

as The Festival of Smiles) got its
name from a coined word ‘mass’,
which means ‘multitude of people’,
and the Spanish word ‘cara’, which
means ‘faces’. Together, the words
mean ‘a multitude of faces’ and
happened to be a pun of the Filipino
word ‘maskara’ which means ‘mask’.
The festival is cheerfully celebrated
every third weekend of October with
images of colorful and smiling
masks.

Amidst the plunging down of the sugar cane industry of the city in 1980s, the
festival was established to lift up the Negrense (local settlers of Negros) out of the
pervasive bloomy atmosphere. Thus, Masskara Festival is a celebration of positivity or
optimism. Bacolod City upholds their title as the ‘City of Smiles’ of the Philippines.

Moriones of Marinduque

During Holy Week, March or April, the island of Marinduque holds Moriones
Festival as a Lenten rite. The Marinduqueñons wear morion masks and apparels to
replicate the biblical Roman soldiers as they play the story of the Passion of the
Christ that entails the suffering of Jesus Christ before crucifixion. ‘Moriones’ refers
to the masked and costumed penitents who march around the town for seven days
searching for Saint Longinus, a commander of the centurions in the Roman army
who was blind in one eye. Legend has it that Longinus’ blind eye was fully restored
after it was spurted forth by the blood of Christ and that made Longinus converted
himself to Christianity.

One of the highlights of this

festival is the Via Crucis. It is a re-
enactment of the suffering of Christ
on his way to the cavalry. In this
event, men are whipping their backs,
carrying wooden crosses and
sometimes even do crucifixion as a
form of atonement for their sins. The
re-enactment reaches its climax when
Longinus is caught and beheaded.

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Pahiyas of Lucban, Quezon

Pahiyas festival every 15th of May exhibits the magical transformation of the
small towns of Quezon province from ordinary to exquisite sight. But the
transformation requires a long time of preparation. This is to satisfy the revelers
anticipation of the colorful decoration of houses made from different fruits,
vegetables, and kipings which is one of the festival’s highlights. Kiping is a local
delicacy of Quezon, particularly in Lucban, which is a leaf-shaped wafer made of
rice dyed in brilliant colors.

The pagan harvest festival

later became a commemoration that
honors San Isidro Labrador, the
patron saint of farmers, peasants,
and laborers. Today, Pahiyas festival,
due to economic situation, is
celebrated by means of competition.
The best decorative and creative
design of the Pahiyas will win. And
after the competition, all the
decorations will be given and thrown
to the people.

Panagbenga of Baguio

Baguio City is called the ‘Summer Capital of the Philippines’ where people
spend their refreshing vacation. The city is one of the most visited tourist
attractions in the Philippines not just because of its cool atmosphere but also due
to its astonishing flower landscapes. Thus, the city annually celebrates Panagbenga
(also known as the Flower Festival) which locally translates as ‘a season of
blossoming’ to pay homage to the beautiful flowers that bloom in Baguio and to
inspire the local people to “bloom” and move forward.

The whole month of February was

set for the festival to boost tourism as it
was considered as a time of inactivity
between the busy days of Christmas
season and the Holy Week. Images of
colorful flowers are displayed through
street dancing and float parades which are
the most crown-generating events. The
street dancing competition is also a way to
help the younger generation to rediscover
their culture's old traditions.

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Giant Lantern of San Fernando, Pampanga

The city of San Fernando, Pampanga has

been marked as the most visited place during
mid-December for its Giant Lantern Festival.
This gained popularity to the people and they
later on nicknamed the city as the ‘Christmas
Capital of the Philippines’. The giant lanterns
were made by each barrio through cooperative
effort. Thus, each lantern is a symbol of unity.

The first lanterns of the festivals were just

made from bamboo, papel de hapon and other locally available materials and only
2 feet in diameter. Today, the festival lanterns have grown to around 20 feet and
made from fiberglass and hand-made paper. These giant lanterns had been
evolving with distinct features far from the traditional lanterns. Electricity operated
lanterns were born and its dancing lights, which are following the beat of the
music, added illusions to the bright colors and intricate designs of the lanterns.

Visual Art Elements and Principles in Philippine Festivals

Philippine festivals are famous for its fancy visual arts exhibited through
street dancing and parades. Each festival displays multiple bright colored banners
and decorations, moving various things of different shapes, costumes, masks, and
props that makes the celebration artistic and joyful. These elements and principles
of arts are considered to come up with a remarkable festivity.

Art Principles

Color hue, intensity and value makes the costumes, mask and
Color make up, props, accessories and decorations bright, chromatic,
and lively.
Flowers, trees, leaves, or other images are present in the props and
Form
decorations.
Not just seen as a design pattern but in the festival performances
Line as well. Formations like horizontal and vertical lines are mostly
used.
Seen everywhere during festivals as this is the fundamental of
Shape
form.
Distance and volume are considered to create pleasing visuals on
Space
the festival performances.
Adds visual effects as it displays rough and shiny texture to the
Texture
props, costumes, and other decorations.

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Art Principles

Balance Aesthetically pleasing/equal integration of elements.

Contrast and Having or including many different elements to create
Variety comparison of one thing to another
Gives special importance and attention to intensify something
Emphasis
(the social function of the festival maybe).
Harmony and The good combination of different elements to seem to belong
Unity together.
Movement Considered to create pleasing visual effects.
Repetition and Visual rhythm is a repeated pattern as depicted in the elements
Rhythm of the festivals.
Scale and Relates to sizes; relationship of one element to another (scale);
Proportion relationship of elements to the festivity as a whole (proportion).

Visual arts brighten the festive atmosphere that also reflects to the moods
and feelings of the locals and guest/revelers in such festivals. This is why many
would consider this time as a time to expose the artistry of the Filipinos. Filipino
artists should have good knowledge in the elements and principles of art to excel
during festivals. Some of them are the designers and choreographers.

Philippine Festivals Visual Arts Design

Costume and Props:

Crisscrossing of linear lines; repeated curve and
streamlines; floral and geometric designs
Ati-atihan

Costume and Props:

Crisscrossing of linear lines; repeated curve and
streamlines; floral and geometric designs
Sinulog

Costume and props:

Line patterns, rickracks, scrolls, curvilinear motifs,
animal / floral and geometric designs
Dinagyang

Papier-Mâché Giants:
Crisscrossing of linear lines; repeated curve and
streamlines
Higantes

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 Philippine Festivals Visual Arts Design

Costume and Props:

Line patterns, rickracks, scrolls, curvilinear motifs,
animal / floral and geometric designs
Kadayawan

Masks, Floats, Costume and Props:

Curvilinear motifs, grass / floral and geometric designs.
Masskara

Masks, Costume and Props:

Crisscrossing of linear lines; repeated curve and
streamlines
Moriones

House and Street Decorations:

Repeated loops and curves and floral designs
Pahiyas

Floats, Costume and Props:

Repeated loops and curves and floral designs and
geometric designs
Panagbenga

Giant Lanterns:
Curvilinear motifs, animal / floral and geometric designs

Giant Lantern

Activity 1: Our Festival (A Reflection)

Directions: Answer the following questions below. Write your answer on your
notebook.

1. What festival do you have in your place or region?

2. What are the visual arts or visual elements you see during the festivity?
3. What are your suggestions to make the festival in your place more colorful
and artistic?

What I Have Learned

Direction: Fill in the blanks. Write the correct term, word or phrase that
completes the statements below. Write your answer in your notebook.

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 1. Philippines is rich in festivals that are locally developed and organized, and/or
adapted from other festivals outside locality. Some of the festivals are held to
honor a particular patron saint. These festivals are categorized as __________.
2. Festivals that are held to commemorate historical events, to celebrate a
bountiful harvest or a blessed circumstance, or to showcase local
indigenous peoples, their rites and rituals, their skills and products, and
their traditions are categorized as ___________.
3. Every Philippine Festival would showcase the __________ of many Filipinos
in the field of design.
4. Ati-atihan, Sinulog and Dinagyang are festivals that both honor ___________
and they are both celebrated during the month of __________.
5. Giants of Higantes Festival are __________ made. This is a material that is
mixed with paper with water and glue and other substances to form an art.
6. Kadayawan Festival’s theme is ______________________________.
7. Lifting out the pervasive bloomy atmosphere of the Negrense (local settlers
of Negros) is the objective of ______________ Festival.
8. During Moriones Festival, _____________ is re-enacted. This is the play about
the suffering of Christ.
9. A commander of Roman Army named _____________ experienced the miracle
of Christ. Thus, he is honored during _____________ Festival.
10. Pahiyas Festival of Lucban Quezon proudly presents their colourful house
decorations known as ___________, a local delicacy of the place that is made
from rice starch.
11. Baguio’s Panagbenga Festival is also known as ____________ as it exhibits
the beautiful flowers of the locality. Thus, flower is the most important
element of the festival.

12. San Fernando was nicknamed ‘Christmas Capital of the Philippines’

because of its _____________ Festival that features huge lanterns.
13. The art elements like __________, __________, _________, _________, _________
add lively visuals in Philippine Festivities.
14. Rhythm, movement, balance, emphasis, harmony, unity, variety, and
proportion are _______________ that must be considered to come up with a
good visual effect of the elements.
15. Philippine Festival Arts are a way of promoting Filipino _______________.

Assessment
Directions: Read and answer the following items below. Choose the letter of the
best answer. Choose the letter of the correct answer. Write it in your notebook.

1. Ati-atihan dancers mirror the Aeta people who give honor and praise to the
Child Jesus. What does this emphasize based on history?
A. Aetas are good dancers.
B. Aetas have a unique culture.
C. Aetas are the first believers of Santo Niño.
D. Aetas have accepted and embraced Christianity

2. Giant lanterns are collaboratively made by the people to assure that it is

competitive enough to win in the contest. In this statement, what does giant
lantern symbolize?

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 A. Christmas Season
B. Unity of each barrio
C. Faithfulness and religiousness of the period
D. Love and care of the locals of San Fernando

3. Carrying the images of Santo Niño emphasizes the function of Sinulog

Festival. What function best describes this tradition?
A. Accepting Christianity
B. Bringing positivity to the locals
C. Commemorating the birth of the saint
D. Thanking the saint for a bountiful harvest

4. How would you classify a festival as religious in form?

A. Festival is held to honor a particular patron saint.
B. Festival is held to commemorate historical events.
C. Festival is held to celebrate a bountiful harvest or a blessed
circumstance.
D. Festival is held to showcase local indigenous peoples, their rites and
rituals, their skills and products, and their traditions.

5. Why is Bacolod city known as the ‘City of Smiles’?

A. Happiness is only found in Bacolod.
B. Masskara Festival is a joyful festivity.
C. The locals always smile and smiling masks represent the city.
D. The people or the Bacolodnons will greet you even if you are alien
to the locality.

 What best describes the kiping as it functions during the Pahiyas Festival?
A. A food delicacy.
B. A colorful and tasty food.
C. A colorful decoration to houses
D. A leaf-shaped wafer made of rice.

 Giant Lantern Festival involves the rhythmic principle of art. What

statement proves this idea?
A. Giant lanterns have themes.
B. Giant lanterns are big and colorful.
C. Giant lanterns have dancing lights.
D. Giant lanterns are made of fiberglass

 Which is not a motive of the re-enactment of Passion of Christ

during Moriones Festival?
A. To reflect to the suffering of Christ.
B. To tell the story of Christ from his birth to his death.
C. To celebrate Holy Week and the acceptance of Christianity.
D. To understand the role played by the Roman Commander,
Saint Longinus.

 Why do giants’ faces at the Higantes Festival look commanding?

A. To show power
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 B. To scare the children
C. To mock the landowners
D. To mirror traditional men and women

 Why do men whip their backs, carry wooden crosses and sometimes even do
crucifixion during Moriones Festival?
A. It is an atonement for their sins.
B. It is a reflection to the suffering of Christ.
C. To mirror what happened to Christ as the Bible says.
D. To prove that Christ is with them through the difficulties.

 How does Pahiyas festival magically transform the small towns of Quezon
province from ordinary to exquisite sight?
A. Through colorful smiling masks
B. Through colorful decoration of houses
C. Through processions and street dances
D. Through floats with different floral designs and decorations

 Justify the statement “There has been a transition of belief from

paganism to Christianity”.
A. People adapt to Christianity.
B. People are atheist before but they believe in Christ now.
C. People started to believe in Christ and left idolatry behind.
D. People don’t believe in Jesus Christ before but now they do.

13. What might be expected if Panagbenga is celebrated not in the

blooming season?
A. Less people are coming.
B. Less flowers are to be seen.
C. The atmospheric temperature of Baguio would be colder.
D. The atmospheric temperature of Baguio would be hotter.

14. What detail supports the statement, “Ati-atihan is The Mother of All
Philippine Festivals"?
A. The festival is the biggest event of the year.
B. The festival is the baseline of all Philippine festivals.
C. The festival has daughter festivals celebrated in other localities.
D. The festival is celebrated every year on January, earlier than the rest
of the festivals.

15. What motive is there in the scale and proportion art principle of paper-
mache giants of Higantes Festival?
A. It should be colorful to attract people and revelers.
B. It should be paper mache to easily paint attractive colors on the giant.
C. It should be in a form of landowners to mock them for their
cruelty and selfishness.
D. It should be lightweight and big as it is operated by a single
person who fits inside the giant

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 Module 4: The Elements and Principles of Arts as
Manifested in Asian
Festivals and Theatrical Forms
The lesson in this module will let you identify the elements and
principles of arts in festivals and theatrical forms in its specific Asian countries.

What is It
You have observed some Asian festivals and theater arts in previous activity.
This time we will briefly discuss the festivals in Asia and its theatrical forms!

ASIAN FESTIVALS

Chinese Festival: Chinese New Year

Chinese New Year is also known as ‘Spring Festival’, the literal translation of
the Chinese name Chūnjié, since the spring season in Chinese calendar starts with
lichun, the first solar term in a Chinese calendar year. Because the Chinese
calendar is lunar-solar, the Chinese New Year is often referred to as the ‘Lunar New
Year’. China’s customs and traditions concerning the celebration of the Chinese
New Year: In Chinese New Year’s Eve, a day where Chinese families gather for their
annual reunion dinner known as Chὐxī or ‘Eve of the Passing Year’. People will
pour out their money to buy presents, decoration, material, food, and clothing.
Thoroughly cleanse the house, in order to sweep away any ill-fortune and to make
way for good incoming luck.

Windows and doors will be

decorated with red color paper-cuts and
couplets with popular themes of good
fortune or happiness, wealth, and
longevity. On the Eve of Chinese New
Year, supper is a feast with families. Food
will include such items as pigs, ducks,
chicken, and sweet delicacies. The family
will end the night with firecrackers.
Children greet their parents early in the
morning by wishing them a healthy and
happy new year, and receive money in red
paper envelopes. The Chinese New Year
tradition is to reconcile, forget all hatred, Chinese New Year Celebration
and sincerely wish peace and happiness Source: guardian.co.uk
for everyone.

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 A form of traditional dance and performance in Chinese culture is Lion Dance. It
is most often seen in festive celebrations. Many Chinese people often use the term
‘Descendants of the Dragon’ (lóng de chuánrén), as a sign of ethnic identity. The
Emperor of China usually used the dragon as a symbol of his imperial power and
strength. The dragon dance is a highlight of Chinese New Year celebrations held
worldwide in Chinatowns around the world. The dragon symbolizes power, strength,
and good luck. The dance team mimics the supposed movements of this river spirit
in a flowing, rise and fall manner. The movements in a performance traditionally
symbolize historical roles of dragons demonstrating power and dignity. Dragons are
believed to bring good luck to people, which is reflected in their qualities that
include great power, dignity, fertility, wisdom, and prosperity. The appearance of a
dragon is both frightening and bold but it has a benevolent disposition.

The main objective of wearing Chinese costumes is to maintain the sanctity

of their tradition. They get haircuts and makeovers so that they are fully ready to
welcome the New Year in a brand new style.

Traditionally women wear the cheongsams and the qipaos while the men wear the
mandarin collared shirts with the Chinese dragon symbols, and traditional kung fu
suits and coats. Children wear dragon costumes and the kung fu suits too.

Taiko Drum Festival of Japan

Kodo is good example of a

professional taiko drumming troupe.
They are based in Sado Island, Japan,
and they had a big role in popularizing
taiko drumming, both in Japan and
abroad. ‘Kodo’ conveys it in two
meanings: First, ‘Heartbeat’ the primal
source of all rhythm and read it in a
different way. Second, ‘Children of the
drum’, a reflection of Kodo's desire to
play their drums simply, with
the heart of a child. Taiko Drum Festival in Fukuoka
Source: fukuoka-now.com

The main focus of the performance includes the following:

 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
 Kodo's performances normally last for about one hour and forty minutes

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 Drums were used in ancient times to signify the boundaries of a village, peasant
events such as the rice harvests or dance festivals, used to pray for rain and other
religious ceremonies, lead warriors into battles in order to scare off the enemy.

Costumes and Props

● Happi, coats over black with white calligraphy. A baggy-sleeved short cotton
jacket, tied with a sash (obi) around the waist. It is usually a plain color,
typically blue or black, with a symbol printed on the lapels and on the back
● Hachimaki, white headband
● Tabi, shoes with big toe separated
● Odaiko – big drum
● Jozuke – medium drum
● Chime – small drum

Variations

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, the following deserve special mention:
1. Barong, the lion
2. Legong – a refined dance form characterized by intricate finger movements,
complicated footwork, and expressive gestures and facial expressions
3. Kecak – a form of Balinese dance and music drama, it originated in the
1930s Bali and is performed primarily by men
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The 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 or Bali.
Hand positions and gestures are nonetheless as important in Javanese and

16
Balinese dance as in India. Whether in India, Indonesia, or Cambodia, hands have a
typically ornamental role and emphasize the dance's delicate intricacy.

Most female dancers put on: various colors of make-up, wear a crown, put
both real and golden flowers in their hair, wear sarong and wrap a long sash from
their hips to their breasts as well as many gold decorations and crowns and
decorations are made from cowhide.

Male dancers also put on make-up. Men use more red color for their eyes and cheeks
and their eyebrows are colored in to enhance their masculinity, men wear a mask when
they dance topeng dance, they wear a crown and put on a cloak or many pieces of these
clothes around their body and they carry a sword on their shoulders.

During the festival, the people create lanterns of white colour and
place a candle in the center. These lanterns are usually large. They have to be held
in the air till the hot air generated by the burning candle, engulfs the inside of the
lantern. This readies the lantern to be released so that it can fly up and away. The
sky looks ablaze from below making it the perfect photography moments. The
Chiang Mai area has been the scene of mass sky lantern release.

Here are some samples of different meanings of releasing Sky Lanterns:

 It sends a person’s bad luck and misfortune away into the air, especially if it
disappears from view before the fire goes out.
 People say a short prayer before launching the lantern. Sometimes they will also
write their address in the lantern. Anyone who later finds the lantern can then
claim money from the sender. In this way, the good fortune is shared.
 It is considered good luck to release a sky lantern, and many Thais believe
they are symbols of problems and worries floating away.
 It is an act of veneration to Pra Ged Kaew Ju La Mannee (the crystal Chedi in
heaven in which the Buddha’s hair is kept) by sending air-ballooned lanterns
into the high sky.

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 A powerful union of water and lights makes this festival a momentous time
for every gazer. The Thais honour Phra Mae Kongka, the goddess of water and pay
respect to the Buddha. The construction of colorful boats was a way of not only
giving thanks for the abundance of water, but also a way to seek forgiveness for
overuse and pollution.

Today, Loy Krathong is a way for people to make a wish and look toward the
future. They believe that in the process of floating away the basket, one can release
all the negative emotions, and free oneself from all anxieties. The celebration of
lights and water is diluted with zealous emotions, especially of the participating lot.
The tradition is said to have begun in the 13th century when a young queen made a
small boat adorned with candles and sent it down the river.

THEATER ARTS

Chinese Theater: Chinese Peking Opera/ Beijing Opera

Peking Opera/Beijing Opera is known for China’s Traditional theater art form
which combines music, vocal performance, pantomime, dance and acrobatics. It arose
in the late 18th century and became fully developed and recognized by the mid-
19th century. The form was extremely popular
in the court and has come to be regarded as
one of the cultural treasures of China.

The vocal requirements for all of the major

roles were greatly reduced for Peking Opera. The
Chou, in particular, rarely has a singing part in
Peking Opera, unlike the equivalent role in
Kunqu style. The melodies that accompany each
play were also simplified, and are played with
different traditional instruments than in

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earlier forms. The popularity of Peking Opera has been attributed to the simplicity
of the form, with only a few voices and singing patterns. This allowed anyone to sing
the arias themselves.

Beijing Opera follows other traditional Chinese arts in emphasizing meaning,

rather than accuracy. The highest aim of performers is to put beauty into every
motion. One skill may take precedence at certain moments during a play, but this
does not mean that other actions should cease. Much attention is paid to tradition
in the art form, and gestures, settings, music, and character types are determined
by long held convention. Conventions of movement include the following: walking in
a large circle always symbolizes travelling a long distance, a character straightening
his or her costume and headdress symbolizes that an important character is about
to speak and Pantomimic is the opening and closing of doors and mounting and
descending of stairs.

Vocal and Instrumental Features

Performances are accompanied by music, usually played on three types of

instrument: wind instruments, string instruments and percussion. The main
instruments are Chinese in origin: the jinghu, a two-stringed instrument played
with a bow, the yueqin, a four- stringed instrument that is plucked, a sanxian, a
three-stringed instrument also plucked, the suona horn, Chinese flutes and a
variety of gongs and cymbals. The melodies are rhythmic and graceful.

The melodies played by the accompaniment mainly fall into three broad categories. The
first is the aria. The arias of Beijing opera can be further divided into those of the
Erhuang and Xipi varieties. An example of an aria is wawadiao, an aria in the Xipi style
that is sung by a young Sheng to indicate heightened emotion. The second type of
melody heard in Beijing opera is the fixed-tune melody, or qupai. These are
instrumental tunes that serve a wider range of purposes than arias. Examples include
the ‘Water Dragon Tune’ (shui long yin), which generally denotes the arrival of an
important person, and ‘Triple Thrust’ (ji san qiang), which may signal a feast or
banquet. The final type of musical accompaniment is the percussion pattern. Such
patterns provide context to the music in ways similar to the fixed-tune melodies. For
example, there are as many as 48 different percussion patterns that accompany stage
entrances. Each one identifies the entering character by his or her individual rank
and personality.
Traditionally, the musicians also remain in full view throughout the
performance and are dressed in the same style as the stage assistants. They come
and go freely and are never considered part of the stage picture. In contemporary
China, the musicians are often seated in an orchestra pit and kept offstage.

Theater musicians learn their parts by rote since Chinese musical notation is
very imprecise. Most music used in the Peking Opera has been worked out
collaboratively between actors and musicians; most is borrowed from already
existing sources and recombined according to the requirements of a particular play.
Although they may be classified as string, wind and percussion, the instruments of
the Chinese orchestra have no counterparts in the West. The leader of the orchestra
plays a drum which establishes the time and accentuates the rhythm. Gongs,
cymbals, brass cups, flutes, stringed instruments and more exotic items complete
the orchestra. Songs are accompanied only by flute and strings, but entrances and

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exits are signaled by deafening percussion passages. Much of the onstage action is
performed to a musical background.

The actor’s delivery of lines is rigidly controlled by conventions. Each role has
its prescribed vocal timbre and pitch, and syllables are often drawn out in regard
for conversational usage in order to maintain the appropriate rhythm. Even spoken
passages are governed by strict rhythms and tempos. Chanted and sung passages
are freely inserted into spoken monologues or dialogues. Thus lines are rendered in
an extremely stylized manner.

Visual Performance Elements

Peking Opera performers utilize four main skills such as the following: song,
speech, dance-acting and combat.

The following colors used in masks/makeup in Peking Opera:

 Red – devotion, courage, bravery, uprightness and loyalty

 Black – roughness and fierceness
 Yellow – fierceness, ambition, and cool-headedness
 Purple – uprightness, sophistication and cool-headedness
 Reddish purple – just and noble character
 Blue – loyalty, fierceness and sharpness
 White – dangerous, suspiciousness, and craftiness. Commonly seen on the
stage is the white face for the powerful villain.
 Green – impulsive and violent and stubbornness

Japanese Theater: Kabuki

Kabuki is a form of traditional Japanese drama with highly stylized song,

mime, and dance and performed only by male actors. Japanese originally used this

Features of a Kabuki Performance

As indicated, Kabuki performances are extremely dynamic: trapdoors allow

sudden changes of scene, making actors disappear; while a live orchestra plays,

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accompanying the action with traditional instruments. Plots revolve around
historical events, love, conspiracy, moral conflicts, etc. What you need to remember
is that what is being shown is just a part of the entire story.

Elements of Kabuki

Mie in which the actor holds a picturesque pose to establish his character
and his house name yagõ, is sometimes heard in a loud shout (kakegoe) from an
expert audience member, serving both to express and enhance the audience’s
appreciation of the actor’s achievement. An even greater compliment can be paid by
shouting the name of the father Keshõ.

Actors are separated into two main categories: Onna-gata, refer to the female
roles and Aragoto refer to the male roles. The most main characters in Kabuki plays
are aragoto, because of its super-stylized masculine, heroic style.

In terms of makeup, it is also one of the most iconic parts of Kabuki. Actors
apply their own makeup by painting their faces and necks white, then adding
stylized lines in red, black or blue. The colors and lines that are used tells what
kind of character is being performed. In aragoto rules, usually red and blue while
onna-gata playing young women have very little paint.

Kabuki makeup provides an element of style easily recognizable even by those

unfamiliar with the art form. Rice powder is used to create the white oshiroi base for the
characteristics of stage makeup, and kumadori enhances or exaggerates facial lines to
produce dramatic animal and supernatural character. The color of the kumadori is an
expression of the character’s nature: Red lines are used to indicate passion, heroism,
righteousness and other positive traits; Pink for youthful joy; Light Blue for an even
temper; Pale Green for peacefulness; Blue or Black for villainy, jealousy and other
negative traits; Green for the supernatural; and Purple for nobility.

There are usually 5 acts: the first, jo, is a slow opening that introduces the
characters and the plot. The next three acts, called ha, represent the main action:
conflicts occur and tragedies happen. Kyu, the final act, is short and quick,
supplying a satisfying conclusion.

Kabuki props are often interesting. Flowing water is usually represented by

fluttering rolls of linen; or creatures like insects and foxes. Props often have symbolic
meanings. Fans are used to symbolized wind, a sword, a tobacco pipe, waves or food.
Costumes are swung from sticks or manipulated by helpers who come on stage dressed
in black hooded robesso; they are invisible to the audience. The female characters
generally wear an elaborate kimono and obi. Pleated hakuma trousers are worn by
characters of sexes. Actors playing sexes often have a supported midriff because a
straight and curveless figure is regarded as the essence of beauty.

Costume changing is considered as an art. There are special teams that take
care of complete and partial costume changes and are done as part of the
performances. Wigs are important accessories, with each costume having its own
type. Specialized craftsmen shape the wigs to the head. Wigs are made of human
hair, horse hair, bear fur, or yak-tail hair imported from Tibet.

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 Wayang is the Indonesia word for puppet and in Indonesia is used to
describe theater both with and without puppets but is most often used as
shorthand for Wayang Kulit (Javanese shadow puppet theater). The various art
forms associated with it have been around for at least 1,000 years. Wayang shows
are major social occasions. They have traditionally been featured at weddings,
circumcision parties and festivals. Vendors are usually on hand, selling roasted
peanuts, clove cigarettes and drinks.

Wayang Kulit was performed in royal court and widely performed in public
on religious occasions so that knowledge of wayang became widespread among all
classes in Java.

Vocal and Instrumental Features

Gamelan ensemble is composed mainly of bronze percussion instruments,

augmented by other percussion instruments, strings and flute. A full Javanese
gamelan ensemble consists of: the preponderance of bronze instruments gives
gamelan music a bright, lingering sound, ranging from the slow, majestic melodies
of the Javanese gamelan to the clangorous vibrancy of Balinese gamelan. Fiddle and
flute add a delicate counterpoint to a four-square pattern of percussive melody. In
addition to setting the mood or atmosphere of a play, music has two major dramatic
functions in the theatre. It accompanies the singing/chanting and it accompanies
stage actions including dance. The importance of each function varies from area to
area and from theater form to theater form.

The Dalang sings the mood songs (suluk) at regular intervals during
performance; in a nine-hour Wayang Kulit, he may sing fifty or sixty. Nevertheless,
they are considered relatively unimportant except as mood pieces. The same
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generalized lyrics may be used in play after play. Suluk are never accompanied by
the full gamelan ensemble. Often a single instrument accompanies the singer, never
more than three or four. The major dramatic function of gamelan music is to
accompany stage action. Entrances, exits and fight scenes are executed in time to
gamelan music.

Elements of Performance

The fundamental components of a performance include:

● the puppeteer, dhalang (Java)/ dalang (Bali)

● a hammer used by the dhalang to knock on the puppet box, cempala
● metal plates that the dhalang hits with his foot, kepyak
● a traditional Indonesian orchestra, gamelan
● shadow puppets, Wayang Kulit
● a light source, blencong
● female singers and a male chorus, pesindhen and penggerong
● a screen frame and screen, gawang and kelir, the main focus of the
performance
7. banana logs, gedebog; the pointed sticks of the wayang base handle pierce
the peeled trunk of a banana tree and the spongy substance holds the
puppets in place.
8. a puppet box, kothak

Thailand Theater: Nang Shadow Puppet Show

Source: Alexandra Zevin on Pinterest

Shadow puppet (Thai: Nang) was one form of public entertainment in the
south of Thailand. It is 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 really they do not have to be because you only
see the black shadows.

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Performance

The puppet shows have a religious theme or have an episode from the
Ramayana epic which contains dozens of individual stories. They may also be
specially written to include up-to-the minute reflections, songs, and poems about
local events and matters of current interest in the district or country. There are
hundreds of different characters, each of distinctive shadow, but the show will
almost always include a clown, funny old man, scatter-brained old woman, or
rather stupid yokel, who are all great favourites with the fun-loving audiences.

Activity 1: Venn Diagram

Directions: Compare and Contrast the Lunar Chinese New Year focusing to its
elements and principles with the usual New Year we celebrate every first of January
using a Venn Diagram. Please put your answers in a separate sheet.

Lunar Chinese New Year New Year

Differences Differences

Similarities

Rubrics for this Activity

Equivalent
Category Description
Points

● Well-written and very organized.

● Excellent grammar mechanics.
Outstanding ● Clear and concise statements. 95 - 100
● Excellent effort and presentation with
detail.
● Writes fairly clear.
Very Good ● Good grammar mechanics. 90-94
● Good presentation and organization.
● Sufficient effort and details.
● Minimal effort.
Good ● Good grammar mechanics. 85-89
● Fair presentation.
● Few supporting details
● Poor somewhat unclear.
● Shows little effort.
Fair ● Poor grammar mechanics. 80-84
● Confusing and choppy, incomplete
sentences.
● No organization of thoughts
● Lacking effort.
Poor ● Very poor grammar mechanics. 75-79
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 ● Very unclear.
● Does not address topic.

Assessment
Directions: Read each item carefully, and write the letter of the most appropriate
answer. Write your answer on a separate sheet of paper.

1. The Indonesian shadow puppet theater shows are based on the stories of
what?
A. Biag ni Lam-ang
B. Nagarakretagama
C. The Tale of the Heike
D. Ramayana and Mahabharata

2. What is the meaning of wearing red color on makeup in Peking Opera?

A. suspiciousness and craftiness
B. roughness and fierceness
C. courage, bravery and uprightness
D. fierceness, ambition, and cool-headedness

3. What is the primal source of all rhythm in kodo?

A. Heartbeat
B. kumadori
C. Children of the drum
D. Descendants of the Dragon

4. The female characters in Kabuki theater wear an elaborate ____________.

A. Xingtou
B. Kimono and obi
C. Balinese costume
D. Saya and Barong Tagalog

5. Why do Thais launch hot-balloon lanterns into the sky?

A. for fun only
B. for hatred
C. for personal purpose
D. sends away misfortune and bad luck

6. What is the traditional dance and performance in Chinese culture?

A. Bali dance C. Dragon dance
B. Folk dance D. Modern dance
7. What particular term is used for ‘Sky Lantern’?

A. Yi Peng C. Chiang Mai

B. Khom fai D. Loy Krathong

8. The Bali dancers usually wear _____________ on their heads.

A. Beads C. hachimaki
B. scarfs D. crowns and masks

9. The performance of element that includes both acrobatics and fighting with
all manner of weaponry in Peking Opera is ______________.
A. song C. speech
B. combat D. dance-acting

10. Which of the following is the Japanese traditional drama?

A. Nang C. Peking Opera B. Kabuki D. Wayang Kulit

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11. Why Chinese people believe in performing the lion and dragon dances?
A. It tells the people to reconcile.
B. It makes the people healthier.
C. It makes the country move wealthy.
D. Bring good luck to people, which is reflected in their qualities that
include great power, dignity, fertility, wisdom, and prosperity.
12. What do you call the puppeteer of Java?
A. Dalang C. Kothak B. Gawang D. Blencong

13. In Kabuki theatre, what is the symbol of using fan as props?

A. Bird C. Wind
B. Rain D. Insects

14. What is the musical ensemble specific to Java and Bali?

A. Chime C. Jozuke
B. Gamelan D. Odaiko

15. What is the Indonesian word for puppet?

A. Bali C. Wayang
B. Kulit D. Yi Peng

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