Kudyapi

MUSIC AND ARTS 5

The Kudyapi, a two-stringed lute used by the
QUARTER 1 - LESSON 1: FORMS AND FUNCTIONS OF Manobo and other Lumad tribes, was a prominent
MUSIC musical instrument.

Music played a crucial role in rituals, celebrations, and everyday

activities, bringing people together in a shared experience. Music was a part
of most activities, from the dawn break to the sun's setting during the pre-
colonial period.

Music in Daily Life

Gongs - These are used in ensembles that
• Lullabies - Lullabies such as owiwi (Kalinga) are used to soothe children provided the rhythmic and melodic backbone for
and pass down cultural stories. many rituals and celebrations.
• Work songs - Work songs like duduru (Aeta) synchronize communal
agricultural tasks or hunting activities.
• Leisure music-making - In the evenings, villagers gathered to sing, dance,
and play instruments for social entertainment and cultural expression.
Courtship through song-debates such as the daieng (Kankana-ey) involves Bamboo Flute - These instruments are either played
musical dialogues during mating rituals. solo or in ensemble. The flutes were used for more
intimate gatherings and personal entertainment.

Music in Rituals and Celebrations

Kulial - This ritual involved music

specifically designed to drive away evil
spirits. It featured intense drumming and Drums - Various types of drums were used
gong playing, which were believed to to maintain rhythm and signal different
cleanse the area from negative energies. phases of rituals and celebrations.

Pangalay - A traditional dance performed

at weddings and other significant
celebrations, it is often accompanied by a suite of kulintang gongs. It
highlights the grace and beauty of the human body, mimicking the
movements of sea creatures, which are symbolic in many Filipino cultures.

Pangalay - A traditional dance performed at weddings and other significant

celebrations, it is often accompanied by a suite of kulintang gongs. It
highlights the grace and beauty of the human body, mimicking the
movements of sea creatures, which are symbolic in many Filipino cultures.
 MUSIC AND ARTS 5 Vocal Quality – like instruments, voices have different timbres or vocal
qualities, varying based on the singer's vocal cords and how they shape
QUARTER 1 - LESSON 2: TIMBRE AND DYNAMICS the sound in their mouth and throat.

TIMBRE Vocal Timbres in Pre-Colonial Style

Timbre, also called tone color or tone quality, refers to the unique • Falsetto: This is a special kind of high voice that mostly boys or men
characteristics of a sound that allow us to distinguish between different use to reach notes higher than their usual singing range. It sounds
instruments or voices, even when they are playing or singing the same very light and airy, almost like a whistle.
pitch. For instance, a guitar and a violin can play the note ‘C,’ but they will
sound different because of their distinct timbres. • Head voice: You might use your head voice when you sing higher
notes. The sound is coming from your head or above your neck. This
voice is lighter and can sound very pretty or floaty.
Classification of Instruments
1. Hornbostel-Sachs Classification System – method of classifying • Chest voice: You use this voice when you talk or sing lower notes. It
musical instruments developed by musicologists Erich Moritz von feels like the sound comes from your chest. It is usually strong and
Hornbostel and Curt Sachs. deep.

• Idiophones – These instruments produce sound from the material

itself, such as cymbals and maracas. An example of a Philippine DYNAMICS
indigenous idiophone instrument is the kulintang. Dynamics refer to the volume of the music, ranging from very soft to very
loud. They play a significant role in musical expression by creating contrast
• Membranophones – these instruments, such as drums, have a
and emphasizing different sections or emotions within a piece. For instance,
stretched membrane that vibrates. A dabakan is a traditional Filipino a crescendo (gradually getting louder) can create a sense of excitement,
drum, primarily used as a supportive instrument in the kulintang while a diminuendo (gradually getting softer) can give a feeling of calm.
ensemble of the Maguindanao and Maranao cultures in Mindanao,
Philippines.
Dynamic Markings and Their Meaning
• Chordophones – these instruments produce sound from vibrating
In musical notation, dynamics are shown through specific symbols and terms
strings, such as guitars and violins. An example of a Philippine written in Italian. Here are some common dynamic markings:
indigenous chordophone instrument is the kudyapi: A traditional two-
stringed lute found among various ethnic groups in the Philippines.
Symbol Italian Term Definition
• Aerophones – These instruments produce sound through vibrating
air, such as flutes and trumpets.
pp Pianissimo Very soft

p Piano Soft

mp Mezzo Piano Moderately soft

mf Mezzo Forte Moderately Loud

f Forte Loud
 ff Fortissimo Very Loud MUSIC AND ARTS 5
QUARTER 1 - LESSON 3: THEATER ARTS
< Crescendo
Gradually getting
louder

> Diminuendo
Gradually getting
softer Understanding Pre-colonial Theater Forms
Theater arts in the Philippines have a long and rich history, beginning even
before colonial rule. In pre-colonial times, theater served as an integral part
Examples of Dynamics in Music of society. These forms reflect the people's beliefs, values, and daily lives.
• Beethoven's Symphony No. 5: The famous "da-da-da-da" motif starts Additionally, the pre-colonial theater is Malay in character, which can be seen
at forte (loud), creating intensity, while the second theme introduces a in rituals, mimetic dances, and mimetic customs.
contrasting piano (soft) passage. In the pre-colonial Philippines, theater arts flourished in various forms,
• Tchaikovsky's 1812 Overture: A crescendo builds to a dramatic climax including ritualistic dances, shadow plays, and oral storytelling, reflecting the
with full orchestra and cannon fire. rich cultural heritage and beliefs of early Filipinos.

• Clair de Lune by Debussy: Gentle pianissimo passages offer a sense

of tranquility. Types of Theater Forms
1. Ritualistic Dances
Timbre and dynamics are essential elements in music. Timbre allows us • Pre-colonial Filipinos believed in animism and practiced rituals to
to differentiate between different instruments and voices, while dynamics appease their gods and spirits.
add expressiveness to a piece, making it more engaging and impactful • Most ritualistic dances are led by a native priest or priestess in the
Understanding these concepts enables students to appreciate the richness community, called the babaylan, bayok, catalonan, or mandadawak
(these are the names called by the different indigenous groups in the
and diversity of music.
Philippines).
• During rituals, the people would play music with their gongs and
drums, dances, and offer food like rice cakes, or drinks like wine to the
spirits.
➢ The babaylan enters a trance to communicate with spirits.
➢ They will consume a sacrificial offering, which could be an animal like
a chicken or pig, or other offerings such as rice, rice wine, and betel nut.
➢ This act symbolizes the babaylan being taken over by the
spirit, and it changes based on the specific purpose of the ritual.
2. Shadow Plays • Educational functions – an educational platform where stories and plays
taught moral lessons and historical knowledge
• It is a form of theatrical performance that is said to have originated in
China and the Indonesian islands of Java and Bali. • Entertainment functions - festivals and performances featuring
elaborate costumes and dynamic enactments were key social events that
• Started in the Philippines during the Spanish colonial period.
brought communities together for enjoyment and celebration
• Carillo, a Spanish term meaning "small cart," refers to little theaters
made of bamboo and shadow plays performed within them during the
late 19th century. Check Your Understanding
Instructions: Read each statement carefully. Write true if the statement is
correct and false if otherwise.
______________1. Pre-colonial theater in the Philippines included forms
such as modern plays and musicals.
______________2. Ritualistic dances in pre-colonial Philippines were often
associated with animism and were led by a figure known
as the babaylan.
3. Oral Storytelling ______________3. Shadow plays were originally developed in the
• Oral storytelling was crucial for passing down myths, legends, and Philippines.
folktales from one generation to the next. ______________4. Oral storytelling was a minor aspect of pre-colonial
➢ Myths – usually associated with theology, religion, and ritual Philippine culture.
➢ Legends – factual accounts of events that occurred in the recent ______________5. The babaylan would enter a trance to communicate with
past focuses more on secular themes rather than sacred ones and spirits as part of the ritual performance.
mainly features human characters
______________6. Myths in pre-colonial Philippines were primarily
➢ Folktales – classified into animal tales or fables, magic tales,
entertaining stories with no religious or cultural
humorous tales, novelistic tales, and religious and didactic tales
significance.
______________7. Legends in pre-colonial times were considered truthful
accounts of recent historical events.
______________8. The term carillo refers to a large theater venue used
during the Spanish colonial period.
______________9. Pre-colonial theater played a significant role in
Functions of Theater in Pre-colonial Society education, imparting moral lessons and historical
• Religious functions – often involved ritualistic dances to connect with knowledge.
the spiritual realm ______________10. The primary function of pre-colonial theater was
• Social functions – a tool for reinforcing social norms and values entertainment, with no emphasis on social or religious
roles.
 MUSIC AND ARTS 5 • Pace and accent: Adjusting the speed of speech and using regional
accents helped add authenticity and depth to characters, making the
QUARTER 1 - LESSON 4: THE BODY AND VOICE IN performances more relatable and varied.
THEATER ARTS
• Projection and articulation: Ensuring clarity and audibility, especially in
open-air performances, was essential for communicating the story and its
Theater performance in pre-colonial Philippines are rich with symbolism, nuances to the audience.
allowed communities to express their spiritual beliefs, social hierarchies, and • Vocal expression principles: These principles ensured that every
connections to nature through elaborate dances and dramatic enactments. spoken word was heard and felt by the audience, enhancing the overall
impact of the performance.

Exploring Body Movement in Pre-colonial Theater

Physical Expressions in Pre-Colonial Theater
In pre-colonial Philippine theater, body movement, vocal expression, and
Facial expressions were a critical component of performances,
physical expression were designed to convey stories, emotions, and cultural
serving as a visual cue that helped to communicate the characters' internal
values. These performances are vital parts of the community's cultural
emotions and the scene's mood. These expressions were:
expression and communication.

➢ Enhanced and exaggerated

Techniques of Body Movement
➢ Integral to mime
Performers used a range of body movements to tell their stories. Key
techniques included: ➢ Synchronized with vocal and body language
• Gestures: These were central, often derived from daily activities or ➢ Adaptive to cultural contexts
nature, to symbolize broader themes such as bravery or love.
• Dance movements: Dance was a primary medium for storytelling, often Rituals, Mimetic dances, and Mimetic customs in the Philippines
mimicking the natural world or depicting significant cultural narratives.
• Exaggeration: Movements were exaggerated to ensure they were
visually impactful and conveyed the intensity of the emotions or actions Pagdiwata
being portrayed. • this ritual is among the
• Isolation: Focusing on specific body parts, like hands or feet, allowed Tagbanwa of Palawan
performers to highlight subtle aspects of the story or emotion. • this is performed following the rice
• Mime: Mime was used to act out scenarios or actions, helping paint a harvest on the last three days of
visual picture of the narrative without using props. the last moon
• involves a series of activities addressed to the spirits of ancestors, the
other gods, and the supreme deity Mangindusa, who are asked for a
Utilizing Voice in Theater Performances bountiful harvest and for their well-being
Vocal techniques were just as critical as physical expressions in Pagdiwata ritual proper:
bringing characters to life and enhancing the storytelling process: • Opening the ritual
• Trance, Dance, and Sounds
• Pitch and volume: Changes in pitch and volume helped differentiate • Intensifying the ritual
characters and emotions, making the narrative more dynamic and
engaging. • Culmination of the ritual
Atang-atang _____________5. Facial expressions in pre-colonial theater were subtle and
not exaggerated.
• in Isabela, the atang-atang is an animistic ritual of the Ibanag performed
_____________6. The Pagdiwata ritual is performed to celebrate the rice
• by women healers or the mang-atang this ritual is done when the illness
harvest among the Tagbanwa of Palawan.
is caused by angered spirits
_____________7. The Atang-atang ritual uses a gong to call upon spirits.
Atang-atang ritual proper:
_____________8. In the Inamo/Inamu dance, dancers mimic the movements
• Start of the ritual of monkeys.
• Use of sacrificial blood _____________9. The Amti dance portrays the traditional fishing process of
• Dedication of offerings the Blaan people.
• Chants and dances _____________10. The Binabayani dance depicts a story of peaceful courtship.
• Free movements and expression
Inamo/Inamu:
• this ritual dance of the Matigsalug, Tigwahanon, and Higaonon tribes MUSIC AND ARTS 5
vividly portrays communal gathering and storytelling through movement,
sound, and expression QUARTER 1 - LESSON 5: DANCES AND DANCE FORMS
• performed during the Kaamulan festival, a significant event derived from
the term amul, which means "to gather”
Indigenous dances are traditional dances that originated from and are
Amti performance proper: performed by the native people of a specific region. These dances are deeply
• performed by the Blaan people and beautifully showcases their rooted in the community's culture, history, and beliefs.
traditional fishing process
Binabayani performance proper: Ritual Dances
• this mimetic dance drama is performed by the Aeta of Pampanga, which These dances connect the community to the spiritual world, asking for blessings,
portrays a story of abduction rather than courtship healing, and protection.
• Pagdiwata (Tagbanwa of Palawan): This is celebrated during the full moon to
Check Your Understanding thank the gods for a good harvest.
Instructions: Read each statement carefully. Write true if the statement is
correct and false if otherwise. • Hinaklaran (Bukidnon): This includes dancing around an altar to assure
blessings and good fortune.
_____________1. Pre-colonial theater in the Philippines was only used for • Bawi (Tinguian): These are rituals to heal the sick by calling the spirits through
entertainment purposes. dancing and chanting.
_____________2. Body movement in pre-colonial theater was used to
• Anituan (Aeta): This dance drives away evil spirits causing sickness with
convey stories and cultural values.
shaman-led dances.
_____________3. Mime was not a technique used in pre-colonial Philippine
theater. • Anito baylan (Mandaya of Davao): This dance drives away evil spirits, causing
_____________4. Vocal expression in pre-colonial theater included the use sickness with shaman-led dances.
of pitch and volume to differentiate characters.
 Life Cycle Dances Check Your Understanding
• Gabbok (Tinguian): This dance transfers the health of elders to a baby with Instructions: Read each statement carefully. Indicate whether the statement
dancing and rituals. is true or false. Write True if the statement is true and False if otherwise.
• Lumagen (Kalinga): This dance is performed during the birth of a male child, ____________1. The Pagdiwata is performed during the full moon to thank
symbolizing bravery and industry.
the gods for a good harvest.
• Aslolog aban (Blaan): This is a cradle exchange dance, symbolizing future
____________2. The Hinaklaran involves dancing around an altar to ensure
marriage arrangements for children.
blessings and good fortune.
____________3. The Bawi is performed by the Kalinga to heal the sick.
Occupational Dances
____________4. Anituan is a dance performed by the Aeta to drive away evil
• Rice planting dances (various ethnic groups): Enact the planting, harvesting, and
preparing process. spirits causing sickness.

• Fishing dances (Blaan, Manobo, Sama, Tausug): Mimic the activities involved in ____________5. Anito Baylan is a life cycle dance performed during
fishing. weddings.
• Hunting dances (Matigsalug, Aeta): Represent hunting activities and skills. ____________6. The Gabbok transfers the health of elders to a baby.
____________7. The Lumagen is performed during the birth of a female
Animal Dances child, symbolizing bravery and industry.
These dances mimic the movements of animals, showing the close relationship ____________8. Aslolog Aban is a dance that symbolizes future marriage
between people and nature. arrangements for children.
• Tinikling (Tikling Birds): This ____________9. The Tinikling dance mimics the movements of ducks in the
dance mimics the movements rice fields.
of birds avoiding traps in the
rice fields. ____________10. The Singkil dance reenacts the epic of Bantugan,
• Kinabua (Mandaya): This highlighting bravery and adventure.
dance imitates hawks.
• Pabo (Turkey), Itik-Itik (Duck):
This dance imitates the
movements of these animals.

Dances with Narratives

• Singkil (Maranao): This is the
reenactment of the epic of
Bantugan, highlighting bravery
and adventure.
• Pandamgo (Bukidnon): This
dance tells the story of a
woman dreaming of having a
daughter and the challenges
that followed.
 MUSIC AND ARTS 5 Body Ornamentation
• tattooing is permanently marking the skin
QUARTER 1 - LESSON 6: VISUAL ARTS with ink or plant-based dyes using sharp
tools like needles or thorns
• has different purposes in the pre-colonial
In the pre-colonial period in the Philippines, artistic expression was essential
Philippines
in everyday life and spiritual practices, reflecting indigenous communities'
diverse cultures and deep-rooted traditions.
Weaving Techniques and Craftsmanship
Weaving • Textile weaving in the Philippines follows three techniques: decorative
dyeing techniques, decorative weaving techniques, and
• textile weaving is essential to life
supplementary thread techniques.
among various indigenous groups
• this weaving tradition has been
passed down from generation to Decorative dyeing technique
generation, representing Philippine
• Plangi – parts of the cloth are included within the folds to form circular
communities’ important social,
patterns after dyeing
economic, and spiritual beliefs
• Tritik – involves sewing patterns onto the cloth with waxed thread, which
is removed after dyeing, leaving needle holes around the designs
Pottery
• Ikat – specific threads are tied with dye-resistant materials at intervals
• an art form made from clay that is according to a planned design
hardened by heating at high
- three types of ikat: warp ikat, weft ikat, and double ikat
temperatures to produce useful and
decorative items
• pottery items like burial jars, bowls, Pottery – pottery-making process in the pre-colonial Philippines begins with
pots, and trays don’t fall apart over quarrying clay from riverbanks or deposits and cleaning it by removing
time impurities such as branches and twigs
Pottery techniques:
Wood carving - Slab making: This technique involves rolling out clay into flat sheets,
known as slabs, and assembling these slabs to create various shapes.
• one of the traditional sculptures of
the indigenous groups in the - Coiling is a method in which clay is rolled into long cylindrical strands that
Philippines are then stacked and joined to form the walls of a pot or other vessel.
• also rooted in the age-old Malay - Throwing (Turn modeling): Turn modeling is performed on a potter’s
wood carving tradition of Southeast wheel.
Asia - Other techniques: anvil-and-paddle method, cradling, and molding
• carving means removing material
from wood or stone using a metal tool, typically a chisel, is wide spread
nationwide Wood carving - In the pre-colonial Philippines, wood carving was used to
create both practical and ceremonial objects
Ifugao
Potiok The bud motif.
• known for their deities like the bul-ul, a granary deity integral to ensuring a
bountiful harvest Matilak A circle motif.
• Ifugao wood carvings are crafted from hardwoods
Dapal A leaf motif.
• they also use alternatives like ipil, acacia, and gutmu
Tagbanwa Todi A flower motif.
• known for their expressive and almost abstract wooden art, carved primarily Saragonting A cross-like motif.
for enjoyment rather than ritual use
• wood from the alimutyugani tree Binitoon A star-like motif.
Maranao
Pinatola Features adjacent squares.
• the Maranao Muslim woodcarvers are distinguished by their use of the okkir
motif, characterized by stylized floral and S-shaped patterns inspired by Biangon A rectangle motif.
local flora, sea corals, and indigenous objects
• sarimanok design, depicting a stylized bird or rooster, is prevalent in Pinagapat Consists of any four-sided design in series.
Maranao wood carving
Olan-olan Represents an artificial moon.
Maranao Wood Carving
Pialang A square motif.

Name Description Katiambang A diamond motif.

Depicts growing vines or crawling plants, often etched

Birdo Body ornamentation - Traditional tattooing remains evident among several
on horizontal or vertical panels.
indigenous groups in the Philippine

Features a naga or serpent figure surrounded by leaf • batuk in Visaya, patik or fatek in Bontok, batek, batok, whatok in Kalinga,
Magoyada and hakang in Tboli
motifs.
• Cordillera people: use sharp thorns from the lubfan tree as needles

Pako Rabong
Represents a fern growing upward from a central • Kalinga village of Butbut: traditional tattooing is performed by a
point where all designs emanate. manwhatok (tattoo practitioner) who uses a gisi, a stick with a thorn, and
applies tattoos by hand tapping
Dominated by the naga, accompanied by leaves, Functions of Visual Art Forms in Daily Life and Rituals
Niaga
vines, and flowers
• Weaving is used to create functional items such as clothing, blankets, and
ritual garments
Armalis Combines fern, leaf, and bud designs.
• Pottery served both utilitarian and ceremonial purposes.
Obid-obid or Coiled rope-like motifs used as borders in various • Wood carving was deeply entrenched in the spiritual and daily life of the
Tiali-tali compositions. Filipinos.
• Tattooing was a significant cultural expression among many tribes,
symbolizing social status, bravery, and accomplishments.