8

Arts
Quarter 4 – Module 4:
The Elements and Principles of
Arts as Manifested in Asian
Festivals and Theatrical Forms

CO_Q4_Arts 8_ Module 4
Arts – Grade 8
Alternative Delivery Mode
Quarter 4 – Module 4: The Elements and Principles of Arts as Manifested in Asian
Festivals and Theatrical Forms
First Edition, 2020

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 8

Arts
Quarter 4 – Module 4:
The Elements and Principles of
Arts as Manifested in Asian
Festivals and Theatrical Forms
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear learners,
can continue your studies and learn while at home. Activities, questions, directions,
exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-
step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each

SLM. This will tell you if you need to proceed on completing this module or if you
need to ask your facilitator or your teacher’s assistance for better understanding of
the lesson. At the end of each module, you need to answer the post-test to self-check
your learning. Answer keys are provided for each activity and test. We trust that you
will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are also
provided to our facilitators and parents for strategies and reminders on how they can
best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on any part
of this SLM. Use a separate sheet of paper in answering the exercises and tests, and
read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in answering the
tasks in this module, do not hesitate to consult your teacher or facilitator.

Good luck and happy learning!

 What I Need to Know

This module was designed and written with you in mind. It is here to help you
identify the elements and principles of Arts manifested in Asian festivals and
theatrical forms. The scope of this module permits it to be used in many different
learning situations. The language used recognizes the diverse vocabulary level of
students. The lessons are arranged to follow the standard sequence of the course.
But the order in which you read them can be changed to correspond with the
textbook you are now using.

After going through this module, you are expected to:

1. Identifies the elements and principles of arts as manifested in Asian festivals
and theatrical forms. (A8PL-IVc-1)

What I Know

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

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

A. Bali dance C. Dragon dance
B. Folk dance D. Modern dance

2. What particular term is used for ‘Sky Lantern’?

A. Yi Peng C. Chiang Mai
B. Khom fai D. Loy Krathong

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

4. What do you call the puppeteer of Java?

A. Dalang C. Kothak
B. Gawang D. Blencong

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

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

1 CO_Q4_Arts 8_ Module4
6. 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

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

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

8. What is the Indonesian word for ‘puppet’?

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

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

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

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

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

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

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

A. xingtou C. Saya and Barong Tagalog
B. kimono and obi D. Balinese costume

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

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

14. 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
includes great power, dignity, fertility, wisdom, and prosperity.

15. 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

2 CO_Q4_Arts 8_ Module4
 Lesson The Elements and Principles
of Arts as Manifested in Asian
1 Festival 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’s In

In the previous lesson, we have learned the elements and principles of arts as
seen in Philippine festivals that reflect their culture, tradition, beliefs, and rites.
These rituals are a kind of celebrations to express gratitude for a good harvest in
honor of the town’s patron saint. It is believed that the saints are responsible for all
the good fortune and favour of all the blessing receives.

The previous lesson will be connected in this another meaningful lesson that
you will learn, because we will enter the celebrations across Asian countries
specifically in China, Indonesia, Japan, and Thailand to discover and identify the
elements and principles of arts manifested in their Festival and Theatrical forms.

Notes to the Teacher

Teacher/Facilitator is suggesting these activities for the learner/s:
Let the students to identify the elements and principles in
Philippine festivals. Write the answer in a separate sheet of paper.
Rubrics will be provided.

3 CO_Q4_Arts 8_ Module4
 What’s New

Asia is a colorful continent full of exciting events going on at any time of the
year, including religious, traditional, and cultural festivals and its theatrical forms.

After you have learned the elements and principles of arts as seen in the
Philippine festivals. It is time for you to study and learn the elements and principles
of festivals and theater art forms of Asia specifically in China, Japan, Indonesia, and
Thailand. To better understand the topic, let’s answer the activity below.

Activity 1

Directions: The pictures below show the unique festivals and theater arts of Asia.
Can you help me identify the following pictures? Write your answer in a separate
sheet.

1. 2.

3. 4.

5. 6.

Sources: Gr8 MUSIC Pg1 and ARTS Pg 141 LM as of 06 April 2013, Pinterest.com, Wikipedia, Yue/Flickr

4 CO_Q4_Arts 8_ Module4
 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.

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,

5 CO_Q4_Arts 8_ Module4
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

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.

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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

Indonesia’s Balinese Dance Festival

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 called Uma, Parvati, or Kali.
This has significance in Balinese
Hinduism, since the common figure of
Bali Dance in Indonesia
Source: Wikipedia Rangda is similar in many ways to
Durga.
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:
● Barong, the lion
● Legong – a refined dance form characterized by intricate finger movements,
complicated footwork, and expressive gestures and facial expressions
● Kecak – a form of Balinese dance and music drama, it originated in the 1930s
Bali and is performed primarily by men

Bali dancers learn the craft as children 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

7 CO_Q4_Arts 8_ Module4
as seven. In Balinese dance the movement is closely associated with the rhythms
produced by the gamelan, a musical ensemble specific to Java and Bali.

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 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.

Lanterns in Thailand

Sky Lantern (Yi Peng)

The Sky Lantern Festival of
Thailand is about the launching of
lanterns which are actually small
hot air balloons. Each release of a
sky lantern is a petition, small
prayer or good wishes of the person
who released the lantern. This
event is held on the full moon of the
12th month in the traditional Thai
lunar calendar. In the Western
calendar this usually falls in
November.
Yi Peng Sky Lantern Festival in Chiang Mai, Thailand.
Source: thinkglobalheritage.wordpress.com

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.

8 CO_Q4_Arts 8_ Module4
 ● 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.

Loy or Loi Krathong Festival

‘Loy/Loi’ literally means 'to

float,' while ‘krathong’ refers to the
lotus-shaped receptacle which can
float on the water. Originally, the
krathong was made of banana leaves
or the layers of the trunk of a banana
tree or a spider lily plant. A krathong
will be decorated with elaborately-
folded banana leaves, flowers, candles,
Source: SubstanceP/iStock and incense sticks. A low value coin is
sometimes included as an offering to
the river spirits. During the night of the full moon, Thais will float their krathong on
a river, canal or a pond lake.

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-

9 CO_Q4_Arts 8_ Module4
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 Source: Yue/Flickr
with different traditional instruments than in
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

10 CO_Q4_Arts 8_ Module4
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 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

11 CO_Q4_Arts 8_ Module4
as a verb meaning ‘act
dissolutely’, later interpreting the
word as ‘Ka’ for song, ‘bu’ for
dance and ‘Ki’ for art/skill.

Kabuki theatre is known

for the stylization of its drama and
for the elaborate makeup worn by
some of its performers. Years of
training are required to become a
performer: dances and Kabuki company of Ebizo Ichikawa XI.
movements are complex and Source: GanMed64 on Flickr.com

fascinating; emotions are conveyed

through music, masks, and costumes; and operating a puppet requires a great deal
of skill. Assisting in a Japanese play is an experience that stimulates all senses.

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,
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

12 CO_Q4_Arts 8_ Module4
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.

Indonesian Theater: Wayang Kulit

The best known theater and

drama in Indonesia is the Javanese
and Balinese shadow puppet
theater based on the Ramayana
epic, with its brilliant puppeteers
(dalang) who may manipulate over
a hundred puppets in all-night oral
performances accompanied by a
gamelan orchestra.
The riveting Wayang Kulit shadow puppet shows
of Java and Bali. Source: Indonesia.travel Bali is best known for the
diversity of its performance arts.
Despite the fact that Bali draws visitors from around the world, and its troupes
perform overseas, most Balinese performers are villagers for whom art complements
farming.

Randai the traditional folk theatre of the Minangkabau people of West

Sumatra is performed during ceremonies and festivals. Music, singing, dance, drama
and the silat martial art are all incorporated together and are based on the traditional
stories and legends.

13 CO_Q4_Arts 8_ Module4
 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
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

14 CO_Q4_Arts 8_ Module4
 ● 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.
● 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.

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.

15 CO_Q4_Arts 8_ Module4
 What’s More

Activity 2: Basic Elements of Festival

Directions: Copy in a separate sheet of paper the table below and fill-in with the
information about each festival based on the readings in the previous pages.

Stage/ Visual Sound

Festival Performers Costumes
Props Effects Effects

Taiko Drum
Performance of Japan
Spring Festival /
Chinese New Year of
China
Bali Dance Festival of
Indonesia

Lantern Festival of
Thailand

Activity 3: Basic Elements of Theater Art Forms

Directions: Copy in a separate sheet of paper the table below and fill-in with the
information about each theater based on the readings in the previous pages.

Stage/ Visual Sound

Theater Performers Costumes
Props Effects Effects

Chinese Peking Opera

Kabuki of Japan

Wayang Kulit of
Indonesia

Nang Shadow
Puppets Show of
Thailand

16 CO_Q4_Arts 8_ Module4
 Rubrics for this Activity

Needs
Excellent Very Good Good
Category Improvement
10 Pts 8 Pts 5 Pts
2 Pts

Answers
Answers
mostly include
usually include
supporting Answers
supporting Answers do
evidence from include
evidence from not include
the text/lesson occasional
the text/lesson supporting
Use of when supporting
when evidence from
Information necessary. evidence from
necessary. the text when
Quotations or the text when
Quotations or necessary.
paraphrases necessary.
paraphrases
are often
are sometimes
included in
included.
answers.

Answers are
Answers are
mostly Answers lack
usually Answers
complete, the required
Detail complete and contain some
extensive, and detail or are
include several details.
include many incomplete.
details.
details.

Answers are
Answers are Answers are
occasionally Answers do not
mostly correct often correct
correct and reflect accurate
Interpretati and and
demonstrate an comprehension
on demonstrate demonstrate
incomplete of the topic(s).
excellent good
comprehension
comprehension. comprehension.
of the topic.

Work
Conventional
Conventional contained Work contains
spelling and
spelling and several many spelling
Mechanics grammar is
grammar is spelling and and grammar
usually
mostly correct. grammar errors.
correct.
errors.

17 CO_Q4_Arts 8_ Module4
Activity 4: 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
● Very unclear.
● Does not address topic.

18 CO_Q4_Arts 8_ Module4
 What I Have Learned

Directions: Fill in the table with the correct information asked. Write your answer
in a separate sheet of paper.

Name of Name of Name of Theater

Country Festival/Elements Arts/Elements

Rubrics for this Activity

Needs
Excellent Very Good Good
Category Improvement
10 Pts 8 Pts 5 Pts
2 Pts
Answers mostly Answers
include usually include
Answers
supporting supporting Answers do
include
evidence from evidence from not include
occasional
Use of the text/lesson the text/lesson supporting
supporting
Informati when when evidence from
evidence from
on necessary. necessary. the text when
the text when
Quotations or Quotations or necessary.
necessary.
paraphrases are paraphrases
often included are sometimes
in answers. included.
Answers are
Answers are
mostly Answers lack
usually Answers
complete, the required
Detail complete and contain some
extensive, and detail or are
include several details.
include many incomplete.
details.
details.
Answers are Answers are
Answers are Answers do not
mostly correct often correct
occasionally reflect accurate
Interpreta and and
correct and comprehension
tion demonstrate demonstrate
demonstrate of the topic(s).
excellent good
an incomplete
comprehension. comprehension.

19 CO_Q4_Arts 8_ Module4
 Needs
Excellent Very Good Good
Category Improvement
10 Pts 8 Pts 5 Pts
2 Pts
comprehension
of the topic.
Work
Conventional Conventional Work contains
contained
spelling and spelling and many spelling
Mechanics several spelling
grammar is grammar is and grammar
and grammar
mostly correct. usually correct. errors.
errors.

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

20 CO_Q4_Arts 8_ Module4
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

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

21 CO_Q4_Arts 8_ Module4
 Additional Activities

Directions: Having successfully accomplished your tasks for this module, you now
have all the reasons to celebrate. Hence, you must have something to remember.
Write it in a separate sheet of paper.

MY TREASURE
Date: _____________
Topic: ___________________________

The lessons presented in this module were (add descriptive words)

_____________________________________________________________________
____________________________________________________________________.

The insights I gained are

_____________________________________________________________________
____________________________________________________________________.

They made me
_____________________________________________________________________
____________________________________________________________________.

_______________________ _________________________
Name of the Learner Name of the Facilitator

22 CO_Q4_Arts 8_ Module4
CO_Q4_Arts 8_ Module4 23
ASSESSMENT WHAT I KNOW
1. D
1. A
2. C
2. A
3. A
3. D
4. B
4. A
5. D
5. C
6. C
6. C
7. A
7. B
8. D
8. C
9. B
9. A
10. B
10. D
11. D
11. B
12. A
12. B
13. C
13. B
14. B
14. D
15. C
15. D
Answer Key
References

A. Books:
Music and Arts Grade 8 Learner's Material. As of 06 April 2013, 1&141.

B. Electronic Sources:
2020. Accessed January 5.
http://nestinginskyscrapers.blogspot.com/2011/01/chinese-new-year-
crafts.html%20http://www.lushome.com/feng-shui-home-preparing-
chinese-new-year-celebrations/35387#.

"Kandy Esala Perahera". 2020. Lakpura™️. https://lakpura.com/pages/kandy-

esala-perahera.

Limited, Alamy. 2021. "Alamy – Stock Photos, Stock Images &

Vectors". Alamy.Com. https://www.alamy.com.

"Lakhon, Forms Of Dance-Drama | Asian Traditional Theatre & Dance".

2020. Asian Traditional Theatre & Dance. Accessed December 9.
https://disco.teak.fi/asia/lakhon-forms-of-dance-drama/.

"Traditional Theatre And Performing Arts In Japan | Asia Highlights".

2020. Asiahighlights.Com. Accessed December 17.
https://www.asiahighlights.com/japan/performing-arts.

"Chinese New Year Celebrations – In Pictures". 2021. The Guardian. Accessed

March 5.
https://www.theguardian.com/world/gallery/2012/jan/22/chinese-new-
year-celebrations-pictures#/?picture=384838256&index=.

"Shadow Puppets | Shadow Theatre, Shadow Art, Shadow Puppets".

2021. Pinterest. Accessed March 8.
https://co.pinterest.com/pin/573857177491628810/.

"The Origins Of Kabuki Theater". 2017. Thoughtco.

https://www.thoughtco.com/kabuki-theater-195132.

"The Riveting WAYANG KULIT SHADOW PUPPET SHOWS Of Java And Bali -
Indonesia Travel". 2020. Indonesia.Travel.
https://www.indonesia.travel/ph/en/trip-ideas/the-riveting-wayang-kulit-
shadow-puppet-shows-of-java-and-bali.

Gao, Sally. 2021. "A Brief History Of Peking Opera". Culture Trip. Accessed June
28. https://theculturetrip.com/asia/china/articles/a-brief-history-of-
peking-opera/.

24 CO_Q4_Arts 8_ Module4
For inquiries or feedback, please write or call:

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