TRADITIONAL ASIAN THEATER MUSIC FORMS OF JAPANESE MUSIC

 Theater Arts a) gagaku (classic court music imported from

- one of the ancient traditions of the people in China during the 18th century)
Asia particularly in Japan and China. b) kagura (performed in Shinto shrines)
- transmitted from generation to generation. c) nō (chant derives from shōmyō Kabuki)
- mirrors or reflects life Japanese Theater
• Kabuki
JAPANESE THEATER - performed in a stylized manner which combines
 traditional form of popular theater began acting, singing and dancing.
at the end of the 16th century and soon - rich blend of music, mime, dance, costume, and
became the most successful theater props
entertainment . - has been in existence for almost four centuries.
 considered the most important Japanese - The term Kabuki in modern Japanese means: ka,
contribution to World Theater. “song”; bu, “dance”; and ki, “skill.”
 Nōh and kabuki - highly play that actors show their wide range of
- unique and genuine expressions of the skills in visual and vocal performance.
Japanese spirit and culture. - was founded in 1603 by Okuni, a Shinto
- They mirror, however, taste and ideals of priestess. Chinese Theater
different social classes, in profoundly - considered traditionally as the highest form of
different environments and epochs. arts in China.
 Sakura (Cherry Blossoms)
CHINESE THEATER
- popular traditional songs of Japan.
- produces distinct characteristics used in  Peking Opera /Beijing Opera
Asian style of making melodies also known - combines music, vocal performance, mime,
as the Pentatonic scale. dance and acrobatics.
- still follows traditional Chinese arts in stressing
VOCAL PATTERN AND TECHNIQUES
meaning, rather than precise actions.
1. Ipponchōshi or the continuous pattern - was extremely popular in the Qing Dynasty
– used in speeches building up to an explosive court and has come to be regarded as one of
climax in the aragoto (oversize, supernatural, the cultural treasures of China.
rough hero) style - The vocal requirements for all of the major roles
– it requires an extraordinary breath control that were greatly reduced for Peking opera.
only few experts succeed in achieving.
2. Nori technique  The melodies that accompany each play were
– adapted from the chanting of jōruri, implies a also simplified and are played with different
very sensitive capacity of riding the rhythms of traditional instruments than in earlier forms.
the shamisen (string instrument)
– declaiming each accompaniment.  The popularity of Peking opera has been
attributed to the simplicity of the form, with
3. Yakuharai technique
only a few voices and singing patterns. This
- the subtle delivery of poetical text written in the allowed anyone to sing the arias themselves
Japanese metrical form of alternating seven and
MAIN STYLES OF PEKING OPERA MUSIC
five syllables.
a) Erh-huang
VOCAL AND INSTRUMENTAL FEATURES
b) His-p’l
• Dances and movements are accompanied by
These styles are very similar, and the only difference is
shamisen music which collected and popularized several
the key.
aspects from all previous forms of Japanese music.
• His-p’l has a lower sound than the Erh-huang.  Even spoken passages are governed by strict
rhythms and tempos. Chanted and sung passages
 They also utilize the technique called fan-pan
are freely inserted into spoken monologues or
which is commonly used for sorrowful songs
dialogues. Thus lines are rendered in an extremely
and is only sung by bearded characters.
stylized manner.
Peking Opera Orchestra
3 TYPES OF INSTRUMENTS
- comprises of 8 musician sitting on stools in the
 WIND INSTRUMENTS
far corner of the stage.
 STRING INSTRUMENTS
- Each performance in a Peking opera begins with
 PERCUSSION INSTRUMENTS
the ta-lo and siag-lo, a small and large gong and
cymbals. MAIN INSTRUMENTS IN PEKING OPERA
-
1. jinghu
 Traditionally, the musicians view throughout the
performance and are dressed in the same style as - a two-stringed instrument played with a bow
the stage assistants.
2. yueqin
 They come and go freely and are never considered – four-stringed instrument that is plucked
part of the stage picture. In contemporary China,
the musicians are often seated in an orchestra pit 3. sanxian
and kept offstage. - three-stringed instrument which is also plucked

 Music is an integral part of every performance. It 4. variety of gongs and cymbals

provides an atmospheric background, accompanies – creates rhythmic and graceful melodies
the many sung passages, controls the timing of
movements and welds the performance into a CATEGORIES OF MELODY
rhythmical whole.
• Aria.

 Although they may be classified as string, wind, and - can be further divided into those of the Erhuang
percussion, the instruments of the Chinese and Xipi varieties.
orchestra have no counterparts in the West. - An example of an aria is wawadiao
- an aria in the Xipi style that is sung by a young
 The leader of the orchestra plays a drum which Sheng to indicate heightened emotion.
establishes the time and accentuates the rhythm.
Gongs, cymbals, brass cups, flutes, stringed  Qupai
instruments, and more exotic items complete the - the fixed-tune melody
orchestra. - instrumental tunes that serve a wider range
of purposes than arias.
 Songs are accompanied only by flute and strings, - Examples include the "Water Dragon Tune"
but entrances and exits are signaled by deafening (shui long yin), which generally denotes the
percussion passages. Much of the onstage action is arrival of an important person, and "Triple
performed to a musical background. Thrust"(ji san qiang), which may signal a
feast or banquet.
 The actor’s delivery of lines is rigidly controlled by  Percussion pattern.
conventions. Each role has its prescribed vocal - provide context to the music in ways similar
timbre and pitch, and syllables are often drawn out to the fixed-tune melodies.
regard for conversational usage in order to maintain - For example, there are as many as 48
the appropriate rhythm. different percussion patterns that
accompany stage entrances.
 - Each one identifies the entering character  Wayang kulit
by his or her individual rank and - was performed in royal court and widely
personality. performed in public on religious occasions so
that knowledge of wayang became widespread
INDONESIAN THEATER among all classes in Java
 Shadow Puppet Theater
VOCAL AND INSTRUMENTAL FEATURES
- is a well-known Indonesian theater popular not
only in their own country but spread in several • Gamelan ensemble
countries around the world.
 Wayang Kulit - comprised mainly by bronze percussion
- one of the oldest continuous traditions of instruments, augmented by other percussion
storytelling instruments, strings, and flute.
- includes the use of puppet materials and
background musical accompaniment - A full Javanese gamelan ensemble consists of:
a. saron - xylophone of heavy bronze bars
 Wayang
b. gender - bronze xylophone with resonance
- Indonesian and Malay word for theater.
chambers beneath
c. bonang - set of bronze bowls
 refer to kinds of Puppet Theater, sometimes
d. gong and kempul – hanging gongs
the puppet itself is referred to as wayang.
e. kenong and ketuk – single inverted bronze
bowl
 Kulit means skin and refers to the leather
f. gambang – wooden xylophone
construction of the puppets that are carefully
g. rebab – two - stringed fiddle
cut into a very fine tools and supported with
h. suling – flute
shaped buffalo horn handles and control
i. kendang – horizontal drum beat with the
rods.
fingers on both ends
j. tjelempung –a zither of thirteen double
 "Bayang" the Javanese word for shadow or
strings
imagination, also connotes "spirit."
• Bronze instruments gives gamelan music a bright,
Performances of shadow puppet theater are
lingering sound, ranging from the slow, majestic
accompanied by gamelan in Java, and by "gender
melodies of the Javanese gamelan to the clangorous
wayang" in Bali.
vibrancy of the Balinese gamelan. Fiddle and flute add a
 Dalang delicate counterpoint to a four-square pattern of
- The puppeteer percussive melody
- Prepares all the materials used in Wayang Kulit
Music major dramatic functions in the theatre
- Characterized by being creative, humurous and
flexible 1. Accompanies singing/chanting
- Manipulates the puppets, sings and tap out 2. Accompanies stage actions including dance
signals to the orchestra
- Speaks the parts of all the characters
- The use of voice interchangeably is the main THEATER ARTS OF SOUTHEAST ASIA
ability of a dalang to give more life to a different  Theater
character - a collaborative form of performing art that uses
live performers, usually actors or actresses to presnt
 Shadow play the experience of a real or imagined event before a
- Invention of a man which reflects his live audience in a specific place often a stage
experience of nature and of his thought.
- Puppets are projected by the lamp on a
white screen.
 CHINA ADDITIONAL ROLES IN PEKING OPERA
 Peking Opera
1. Jing
- Combination of music, vocal performance,
- A painted face male role who plays
pantomime, dance, and acrobatics
either primary or secondary roles
- Started in the late 18th century and became
- Entails a forceful character, which
fully developed and recognized by the mid-
means that he must have a strong
19 century during the Qing Dynasty
voice and be able to exaggerate
Peking Opera Training gestures
 Red color denotes loyalty and
- take place on 1911 more formally organized
goodness
school
 White denotes evil
- studentsa of these schools rose as early as 5
 Black denotes integrity
o’clock in the morning for exercises
2. Chou
- Daytime was spent learning the skills of acting
- Male clown role
and combat, and senior students perform in
- Usually plays roles whose name also
outside theaters in the evening
means “ugly”
ROLES IN PEKING OPERA (men) - Reflects traditional belief that clown’s
combination of ugliness and laughter
- Sheng could drive away evil spirits
- The main role in Peking Opera
- Laosheng 4 VISUAL PERFORMANCE ELEMENTS
- Dignified older role
1. Song
- These characters have a gentle and
2. Speech
cultivated disposition and wear sensible
3. Dance-Acting
constumes
4. Combat
- Xiaosheng
- Actors are ofren involved with beautiful
women by virtue of the handsome and
young image they project
- Wusheng
- Martial character for roles involving
combat
- Are highly trained in acrobatics and
have natural voice when singing

ROLES IN PEKING OPERA (women)

1. Dan
- Any female role AESTHETIC AIMS AND PRINCIPLES OF MOVEMENT
2. Laodan  The highest aim of performers in Peking Opera is to
- Old woman put beauty into every motion
3. Qingyi
- Virtuous and elite women STAGE
4. Daomadan - Square platforms, the action on stage is usually
- Young female warriors visible from at least 3 sides
5. Huadan - Stages were built above the line of sight of the
- Vivacious and unmarried woman viewers, but some modern stages have been
6. Wudan constructed with higher audience seating
- Martial woman divided into 2 parts by an embroidered curtain
called Shoujiu
 JAPAN FAMOUS KABUKI CHARACTERS
 Kabuki
 Makeup
- Highly stylized song, mime, and dance now
- one of the most iconic parts of kabuki
performed only by male actors
- Originally used this verb meaning, “act
• Actors apply their own makeup by painting their
dissolutely”
faces and necks white, then adding stylized lines
- Since the word kabuki is believed to derive
in red, black or blue
from the verb, kabuki, meaning “to lean” or
“to be out of the ordinary”
• The colors and lines that are used tell what kind
- Can be a “bizarre theater”
of character is being performed. Red and blue
are usually aragoto roles, onna-gata playing
young women have very little paint

3 MAIN CATEGORIES OF KABUKI PLAY • 3 PLAYS ACTS

1. Jo
1. Jidaimono
- Auspicious and slow opening which introduces
- History plays, were set within the
the audience to the characters and the plot
context of major events in Japanese
2. Ha
History
- Where events speed up, culminating almost
2. Shosagoto
always in a great moment of drama or tragedy
- Dance pieces
in the third act, and possibly a battle in the
3. Sewamono
second or fourth acts
- Focused primarily upon commoners
3. Kyu
(townspeople and peasants)
- Almost always short, providing a quick and
- Generally related to themes of family
satisfying conclusion
drama and romance
KABUKI PROPS
ELEMENTS OF KABUKI
- Often quite interesting. Flowing water is usually
a) Mie
represented by fluttering rolls of linen or
- Actor holds a picturesque pose to
creatures like insects and foxes.
establish
- Often have symbolic meanings. Fans are used to
b) Kesho
symbolize wind, sword, a tobacco pipe, waves
- Name of the actor’s father
or food
2 MAIN ACTOR CATEGORIES

a) Onna-gata
- Refers to the female roles
b) Aragoto
- Refers to the male roles
- Most played role because of its super
stylized masculine and heroic style
 • Hakuma - A hammer used by the dhalang to knock
- Trousers are worn by characters of on the puppet box
different sexes .  Kepyak
- Actors playing both sexes often have a - Metal plates that the dhalang hits with
supported midriff because a straight his foot
and curve-less figure are regarded as  Gamelan
the essence of beauty - Traditional Indonesian orchestra
• Wigs  Blencong
- Made of human hair, horse hair, bear - Shadow puppets’ light source
fur, or yak-tail hair imported from Tibet  Pesidhen and Penggerong
- Female and male chorus
INDONESIA  Gawang and kelir
 Wayang Kulit - Screen and screen frame
- Traditional form of shadow puppetry - The main focus of the performance
originally found in the cultures of Java  Gedebog
and Bali in Indonesia - Banana logs
- The puppet figures are rear-projected - Pointer sticks of the wayang base handle
on a taut linen screen with a coconut oil pierce the peeled trunk of a banana tree
light and the spongy substance holds the
puppets in place
3 WELL KNOWN HINDU EPICS
 Kothak
1. Ramayana - Puppet box
- Story of king Rama who must save his
kidnapped wife, Sita THAILAND
- Along the way, it teaches Hindu life  Nang Shadow Puppets Show
lessons - Puppets are made of painted buffalo hide,
2. Mahabharata while the story is narrated by songs, chants
- The battle between 1 groups of cousins and music
named the Pandavas and the Kauravas
to gain supreme power and rule the 2 TYPES OF NANG
kingdom  Nang Talung
3. Serat Menak - Played with leather puppets, each
- Story about the heroism of Amir Hamza representing a separate character
- About 50 cm high
- Usually possess a movable, jointed arm
controlled by a string

 Nang Yai
- Made of cowhide and rattan
- A large decorated scene and characters
measuring around 2m high and a meter
wide
- They do not have joined arms, but the
FUNDAMENTAL COMPONNTS OF A PERFORMANCE
themes and styles remain the same
 Dhalang (Java)/Dalang (Bali)
- Pupeteer  Nang’s Theater Troupe usually consists of 5-10
pupeteers and musicians

 Cempala
 Nai Nang are the teachers and presenters of the  Chiang Mai area
Nang Talung - been the scene of mass sky lantern release.
 Characters are gods and goddesses, - city in mountainous northern Thailand.
kings and queens, magical figures, - Founded in 1296
and comedians - it was capital of the independent Lanna
Kingdom until 1558.
 Mr Suchart Sapsin
Some meaning of releasing the lantern:
- A man of many talents
- He is not only an expert in the craft of making the  sends a person's bad luck and misfortune away into
puppets but he is also an award-winning writer the air
and post  especially if it disappears from view
- He is a narrator, speaking or singing all the parts before the fire goes out.
using different voices, and he is a superb mimic
People say a short prayer before launching the
ASIAN FESTIVALS lantern. Sometimes they will also write their address in
the lantern. Anyone who later finds the lantern can then
 Festival claim money from the sender. In this way, good fortune
is shared.
- special event that celebrates the cultures,
 considered good luck.
traditions, and cuisines of certain countries.
 Many Thais believe these sky lanterns
are symbols of problems and worries
- showcase the diverse and colorful aspects of a
floating away.
countries culture, giving attendees a taste of the
rich heritage and traditions of their countries.
 It is an act of veneration to Pra Ged
Kaew Ju La Mannee (the crystal
- event celebrated by a community and centering
Chedi in heaven in which the
on some characteristic aspect or aspects of that
Buddha's hair is kept).
community and its religion or cultures.
 Loy / Loi Krathong
THAILAND - takes place on the evening of the full moon of the
12th month in the traditional Thai lunar calendar.
 Sky Lantern (Yi Peng)  In the Western calendar this
- Held not just in this country but also in usually falls in November.
China, Taiwan, and other neighboring
countries.  Loy / Loi literally means "to float," while krathong
refers to the "lotus- shaped receptacle"
- launching of lanterns which are actually
small hot air balloons.  Krathong was made of banana leaves or the layers
of the trunk of a banana tree or a spider lily plant.
- release of a sky lantern is a petition, small
prayer, or good wishes of the person who  ritual honoring Phra Mae Kongka,
released the lantern. the goddess of water.

- held on the full moon of the 12th month in  They celebrate this festival for giving thanks,
the traditional Thai lunar calendar. In the asking forgiveness, and good wishes
western calendar this usually falls in
November.
- They celebrate this festival for petition,
small prayers, and good wishes
INDONESIA
 Balinese Dance Festival
– 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

TRADITIONAL DANCES IN BALI JAPAN

 Legong  Taiko Drum Festival
- A refined dance form characterized by intricate - festival tradition inherited from the
finger movements, complicated footwork, and fisherman village.
expressive gestures and facial expressions - Every year in October
 Held for protection and
 Barong good haul, in Maisaka, a
- a panther-like creature and character in the fisherman town in
Balinese mythology of Bali, Indonesia. western Hamamatsu.
 He is the king of the spirits, leader of the - The first festival day is a parade of Teodori
hosts of good, and enemy of Rangda. (empty hand dance) and eight Taiko drums.
 Kecak History
- A form of Balinese dance and music drama
 it originated in the 1930s in Bali and is  Drums were used in ancient times to signify the
performed primarily by men. boundaries of a village.

COSTUMES OF BALINESE DANCER  Peasant events such as the rice harvests or dance
 Female Dancer festivals were celebrated with drums.
- various colors of makeup
- a crown  Drums were used to pray for rain and other
- both real and golden flowers in their hair religious ceremonies.
sarong and wrap a long sash from their hips to
their breasts as well as many gold decorations  Drums lead warriors into battles in order to scare
(crowns and decorations are made from off the enemy.
cowhide)
 Male Dancer  KODO has two meanings;
- makeup (use more red color for their eyes and  Heartbeat the primal source of all rhythm
cheeks and their eyebrows are colored to and, read in a different way.
enhance masculinity)
- a mask when they dance the topeng dance  Children of the drum, a reflection of Kodo's
- a crown desire to play their drums simply, with the
- a cloak or many pieces of these clothes around heart of a child
their body male dancers also carry a sword on
their shoulders
 prosperity, and are a symbol of imperial authority
 COSTUMES and ethnic identity.
 Happi
COSTUMES
- coats over black with white calligraphy.
- baggy-sleeved short cotton jacket, tied with  Tang Suits (Tangzhuang)
a sash (obi) around the waist. - A kind of Chinese jacket with Manchu
 usually a plain color, typically blue origins and Han influences
or black, with a symbol printed on  characterized with a mandarin
the lapels and on the back. collar closing at the front with frog
 Hachimachi buttons.
- white headband  Cheongsams
 Tabi – A sheath dress with a high cylindrical collar,
- shoes with big toe separated side slits and an asymmetrical opening in the
 Odaiko front that stretches from the middle of the
- big drum collar to the armpit and down the side.
 Jozuke
- medium drum
 Chime
- small drum

CHINA
 Spring Festival/Chinese New Year
Physical Ed |Indoor Recreational Activities
- most significant celebration in the Chinese  Scrabble
calendar  Chess
 marking the transition from winter to  Domino
spring.
Benefits of Recreational Activities
- starts on the first day of the lunar month and lasts
until the Lantern Festival on the 15th day,
 Opportunities for health and well being
 featuring widespread traditions like the family  Quality lifestyle for the community
reunion dinner on New Year's Eve.  Personal development and expressions
 Creativity and individuality
- celebrated across regions with large Chinese  Social, physical and intellectual
populations, including China, Taiwan, and development
Southeast Asia.  Close family ties/relationship

 DRAGON DANCE
Scrabble
- traditional Chinese dance performed during
festive celebrations – a word game for 2,3,or 4 players.
 notably the Chinese New Year, symbolizing – The play consists of forming interlocking
power, strength, and good luck. words, crossword fashion, on the SCRABBLE
playing board using letter tiles with various
- Often seen in global Chinatowns, the dance score values.
involves a team mimicking the movements of a – Each player competes for high score by using
dragon, a revered river spirit, embodying power his letters in combination and locations that
and dignity. take best advantage of letter values and
- In Chinese culture, dragons are also associated premium squares on the board
with qualities like fertility, wisdom, and
Objectives of Scrabble  Power tiles
- consists of two blanks, the four S’s and the
 To have the highest number of letter J, Q, X and Z.
points at the end of the game  Blocking
when the extra letters run out, - act of playing a word on the board that stops
and one person doesn't have the opponent from making a potentially large
any letters in their 'hand’. score.
 Bingo
Terminologies in Scrabble - Any word played that uses all seven letters on
the rack earning a bonus of 50 points
 Tiles
- Game equipment consisting of a flat thin THE PLAY
piece marked with characters and used in
board games.
1. The first player combines 2 or more of his
letter to form a word and places them on the
 Count tiles
board to read either across or down with one
- players often count tiles at two different letter on the center
times:
1) before a game begins to ensure
2. A player completes his turn by counting and
that there are 100 tiles
announcing his score for the turn. He then
draws as many new letters as he has played,
2) near the end of the game, when
thus always keeping 7 letters in his rack.
knowing exactly how many tiles
remain to be played can be crucial
for the astute player. 3. Play passes to the left. The 2nd player, and
then each in turn, adds one or more letters to
 Hook letter
those already played to form new words.
- A letter that will spell a new word when it
is played with in the front of or at the end
4. New words may be formed by: Adding 1 or
of a word already on the board.
more letters to a word or letters already on
 Example: With HARD on the board,
the letter Y is a hook letter since
the board.
HARDY is acceptable. Likewise, the
letter C can be "hooked: since CHARD 5. No letter may be moved after it has been
is acceptable played.
 Challenge
- An opponent calls a "CHALLENGE" when 6. The 2 blank tiles may be used as any letter
s/he thinks a play is not acceptable (i.e. desired, after which it cannot be changed
not in the OWL or Merriam-Webster during the game.
Collegiate Dictionary, Eleventh Edition).
 A Word Judge is called to verify which 7. Any player may use his turn to replace any or
words are acceptable or not.
all the letters in his rack.
 Whenever there is a challenge,
someone loses exactly one turn.
8. Any words found in a standard dictionary are
 Triple word
permitted except proper nouns, etc. Consult a
- a dark red square on the scrabble word.
dictionary only to check spelling or usage.
- When a word is played using this square,
then the points for the word are
multiplied by three
9. Any word may be challenged before the next
player starts his turn. If the word challenged
 is unacceptable, the player takes back his tiles increased by the sum of the unplayed letters of
and loses his turns all the other players.

10. Play continues until all tiles have been drawn

and one of the players has used all the letters
in his rack or until all possible plays are made.

SCORING
 The score value of each letter is indicated by a
number at the bottom of the tile. The score
value of a blank is zero.

 The score for each turn is the sum of the score

values of all the letters in each word formed or
modified in the play plus the premium values
resulting from placing letters on premium
squares.

 Premium letter squares:

 light blue square doubles the letter score
Chess
 dark blue square triples the letter score.

 Scoring Premium word squares:

 light the score for the entire word is
doubled when one of its letters is placed
on a light red square
 it is tripled when a letter is placed on a
dark red square.

 The above letter and word premiums apply only

in the turn in which they are first played. In
subsequent turns letter count at face value.

 When 2 or more words are formed in the same

play, each is scored.

 Any player who plays all 7 of his tiles in a single

turn scores a premium of 50 points in addition
to his regular score for the play.

 At the end of the game each player’s score is

reduced by the sum of his unplayed letters, and,
if 1 player has used all of his letters, his score is
 - A game that has been played for centuries  strengthen family bond.
and was thought to have originated in India in
the 15th century. Chess Pieces and Equipment
 Long ago, it was considered a game
reserved only for kings and members
of the upper classes. Nowadays, chess
is played by common people even at
an early age.

 The modern design of chess pieces

bears the name Staunton, who was
an English master in the mid-18OO's.
 Chess board
These are the type of pieces that are  Chess clock
now used in all tournaments
worldwide.

 THE KING (K)

 The king is the most important piece;

However it is also considered one of the
weakest
 The king only moves one square in any
direction - up, down, to the sides, and
diagonally.
 may never move himself into check
(where he could be captured).

Benefits Derived from Playing Chess

 increases the mathematical and scientific skills
of the students.  Note: The dot (●) represents the direction of moves of
 enhances the problem-solving skills, the pieces.
concentration ability, as well as  THE QUEEN (Q)
logical thinking ability of the students  The queen is the most powerful piece.
 develops a sense of confidence and self-worth  moves in any one straight direction -
of a student forward, backward, sideways, or diagonally.
 it cannot move over any intervening piece.
 increases communication skills of a student.
 gives a lesson of hard work and commitment.
 provides entertainment and relaxation
 This game is free and can provide
entertainment even for the
observers.  THE ROOK (R)
 also has health benefits
 considered as a form of recreational  may move to any square as far as it
wants, but only forward, backward, and
therapy to the sides.
  particularly powerful pieces when they
are protecting each other and working
together.

 THE BISHOP (B)

 may move as far as it wants, but

only diagonally.
 Each bishop starts on one color
(light or dark) and must always
stay on that color.
 work well together because they
cover up each other’s weaknesses.
TERMINOLOGIES IN
CHESS
 CASTLING
- move of the king and or
either rook of the same
 THE KNIGHT (N) color along the players first
row, he may move his king
 Knights move by going two squares in one two squares over to one
direction, and then one more moves just like an
side and then move the rook
“L” shape.
 the only pieces that can move over other from that side’s corner on
pieces. the square next to the king.

 CHECK
- result of a move that places the opposing king
under an immediate
threat of capture by one
or sometimes two of the
 THE PAWN opponent’s pieces
 move forward but capture diagonally.
 they can never move backwards.
 On its first move, the pawn can advance two
squares at a time. Succeeding moves will be  CHECKMATE
one square at a time. - is a situation in which one
player’s king is threatened
with capture (in check) having no move to avoid
that threat, thus, ending the game

 DRAW
- a game where nobody ends as a winner
PROPER POSITIONING OF THE CHESS PIECES
 STALEMATE
 - situation in the
game of chess
where the player
whose turn it is to
move is not in check
but has no legal
move. The rules of
chess provide that
when stalemate occurs, the game ends as a
draw

 PROMOTION
- special ability of pawn wherein if it reaches the
last row of the other side of the board, it can
become any other chess piece except the king. RULES AND REGULATIONS IN CHESS
o There are two players on opposite sides
Numbers and letters for recording of a board containing 64 squares of
alternating colors.
movements.
o Each player has 16 pieces:
 1 king, 1 queen, 2 rooks, 2 bishops,
2 knights, and 8 pawns.
o The goal of the game is to checkmate
the other king.
o Checkmate happens when the king is in
a position to be captured (in check) and
cannot escape from capture.