Contemporary Philippine

Arts from the Regions

Quarter 2

Module 18
Art Movements and Styles -
Performing Arts
Contemporary Philippine Arts from the Regions – Grade 12
Quarter 2 – Module 18: Art Movements and Styles – Performing Arts
First Edition, 2020

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Published by the Department of Education - Schools Division of Pasig City

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Writer: Narciso A. Ogaya Jr.

Editors: Jovelyn L. Espino
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 Contemporary Philippine
Arts from the Regions
Quarter 2
Self-Learning Module 18
Art Movements and Styles -
Performing Arts

Introductory Message
 For the facilitator:

Welcome to the Contemporary Arts from the Philippine Regions (Grade 12) Module
on Art Movement and Styles – Performing Arts!

This Self-Learning Module was collaboratively designed, developed and

reviewed by educators from the Schools Division Office of Pasig City headed by its
Officer-in-Charge Schools Division Superintendent, Ma. Evalou Concepcion A.
Agustin, in partnership with the City Government of Pasig through its mayor,
Honorable Victor Ma. Regis N. Sotto. The writers utilized the standards set by the K
to 12 Curriculum using the Most Essential Learning Competencies (MELC) in
developing this instructional resource.

This learning material hopes to engage the learners in guided and

independent learning activities at their own pace and time. Further, this also aims
to help learners acquire the needed 21st century skills especially the 5 Cs, namely:
Communication, Collaboration, Creativity, Critical Thinking, and Character while
taking into consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies
that will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing them
to manage their own learning. Moreover, you are expected to encourage and assist
the learners as they do the tasks included in the module.

For the learner:

Welcome to the Contemporary Philippine Arts from the Regions Module on Art
Movement and Styles – Performing Arts!

The hand is one of the most symbolized part of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a
learner is capable and empowered to successfully achieve the relevant
competencies and skills at your own pace and time. Your academic success lies in
your own hands!

This module was designed to provide you with fun and meaningful opportunities
for guided and independent learning at your own pace and time. You will be
enabled to process the contents of the learning material while being an active
learner.

This module has the following parts and corresponding icons:

Expectations - These point to the set of knowledge and skills

that you will learn after completing the module.

Pretest - This measures your prior knowledge about the lesson

at hand.

Recap - This part of the module provides a review of concepts

and skills that you already know about a previous lesson.

Lesson - This section discusses the topic in the module.

Activities - This is a set of activities that you need to perform.

Wrap-Up - This section summarizes the concepts and

application of the lesson.

Valuing - This part integrates a desirable moral value in the

lesson.

Posttest - This measure how much you have learned from the
entire module.
 EXPECTATIONS

At the end of the lesson, the learners are expected to:

1. identify the performing art movement in the Philippines;
2. perform a spoken word poetry using the artistic skills
and styles in performing arts dealing contemporary matters; and
3. appreciate the performing art movements that defines the
Philippine contemporary arts.

PRETEST

Direction: Read the statement of each item carefully and identify if it is true
or false. Write True if the statement is correct and False if the
statement is incorrect. Write your answers legibly on your answer
sheets.

_____1. In the musical play entitled “Sweeney Todd: The Demon Barber of
Fleet Street”, Lea Salonga was the winner and awarded as Best
Actress.

_____2. When the American set foot to our country, the American way of life
was introduced through education, media, and language and bodabil
play has started.

_____3. The first bodabil was produced by the Manila Dramatic Guild for the
sole purpose of entertaining American soldiers and other Americans
residing in Manila in the year 1898.

_____4. Modern dramas consisted of three primitive people where the

spirit of the deities would seemingly possess a catalonan or babaylan.

_____5. Francisco Asenjo Barbieri was the first zarzuela performer

introduced in the Philippines.
 RECAP

Let us review the highlighted concepts of our previous lesson on the

Art Movement and Styles in Media Arts as follows:

Print media is a conventional form of arts characterized with sophisticated

designs, styles, formats and quality which are used for advertisement,
comic books, book designs and illustration purposes.

RPG Metanoia is a Filipino full 3D animated film produced in 2010.

Cinematography is an art of film camera work where actors express

themselves without the exaggerated facial expressions and gestures.

José Nepomuceno made the first ever Filipino film entitled “Dalagang
Bukid”.

Tony Velasquez is known as the “Father of Filipino Comics”.

Urduja is the first fully animated Filipino film made by all Filipino
animators using the traditional hand-drawn animation process with
specialized 3D effects which was released in 2008.

Dayo: Sa Mundo ng Elementalia (2008) is another animated film

but this is the Country’s first all-digital full-length animated
feature film. And the first ever animated movie to be screened during
34th MMFF.

Indie films or Philippine Independent Films is often viewed as “highly

intellectual” or “pretentious” for its depth, substance and ambiguity.

Commercial Renaissance is a period of cinematography when it turned to

become highly commercialized and progressive in full scale and
surged to earn millions of pesos in gross.

A remarkable film casted by Nora Aunor is Himala- the movie, which tells
the concept of miracles through religious fanaticism.
 LESSON

ART MOVEMENT AND STYLES: PERFORMING

ARTS
Performing Arts is a form of art in which artists use their voices,
bodies, and artistic skills to perform or tell stories in a creative expression.
The Philippine theater plays an essential role on promoting Filipino culture
and heritage, to entertain and even to educate citizens in an artistic way.

The diversity of Philippine theatrical traditions is brought by its

diverse colonizers with varying cultures through the years. These colonizers
put different flavors in the face of Philippine theaters. The movement of
performing arts from Pre-colonial to Spanish period to American period then
to Japanese times and lastly to the modern times offer stories of its
theatrical development and progression in our country.

PERFORMING ARTS DURING PRE-COLONIAL PERIOD

During the Pre-colonial period, theater in the Philippines was in the

form of indigenous rituals, oral contests, games, songs and dances to
worship gods. In accordance to early chronicles, pre-historic dramas
consisted of three elements – myth, mimesis, and spectacle. These mimetic
plays mostly in a form of dramatic rituals and epic poetry about deities and
mythical legends by the primitive
people where the spirit of the
deities would seemingly possess a
Catalonan (priest) or Babaylan
(priestess). During the rituals, the
priest or priestess would consume
the sacrificial offering of food and
animals such as pig, chicken,
rice, wine, or nuts.
PERFORMING ARTS DURING SPANISH PERIOD

When the Spaniards landed in the Philippines, they used dramas

such as zarzuelas as a pedagogical tool to influence the pagan tribes and
teach them about religion and how to live a Christian life. Another
significant form of theater art flourished during the Spanish period is the
comedia. It’s a play in verse that portrays the lives, loves, and wars of
moors and Christians. Comedia is also called as Moro-Moro, Linambay, or
Arakyo. Moro-Moro is a secular comedy play telling the story of war between
Christians and Muslims through the forbidden love of the prince and the
princess. The comedy ended up the story with the non-Christian being
converted to Christianity, or through his or her death, immediately followed
by his or her resurrection. Generally, Comedias were performed in the
pueblos or village centers to attract
more people to the foundation of its
regime. The comedia may range
from 3 to 15 hours through a series
of performances. The first Filipino
comedia was performed in Latin
and Spanish by Fr. Vicente Puche
in Cebu in 1598.
 Furthermore, a zarzuela is a form of musical theater blended with
spoken word and song that celebrates various Catholic liturgical
ceremonies. In the late 1878 or early 1879, Jugar Con Fuego by Francisco
Asenjo Barbieri was the first zarzuela introduced in the country and the
Teatro Zorilla, the home of zarzuela, was inaugurated on August 17, 1893.
Over the 333 years of the Spanish regime, the Philippines was strongly
influenced by their culture, tradition, and religion. Zarzuelas and Comedias
are still being performed nowadays despite of modern evolutions of modern
theaters. Nowadays, Moriones festival in Marinduque and other religious
ritual practices are still commonly practiced in many regions of the country.

PERFORMING ARTS IN AMERICAN PERIOD

When the American set foot to our country, the American way of life
was introduced through education, media, and language. Their influence on
Philippine theatre is most apparent
through the bodabil (vaudeville) and
the plays and dramas were staged
using English language. The first
bodabil was produced by the Manila
Dramatic Guild for the sole purpose of
entertaining American soldiers and
other Americans residing in Manila in
the year 1898 and it was also the first
theatrical performance since the
revolution.

The bodabil is not a straight-up theatrical performance, it’s blend of

songs, dances, comedy skits, and even magical performances. Local
audiences found interest the entertainment spectacles which then
performed from town to town. In the long run, the bodabil was interjected
into comedias and zarzuelas, as intermission numbers known vas
jamborees.
PERFORMING ARTS DURING JAPANESE PERIOD

In 1940s, when the Japanese took over the Philippines from the
Americans, movie actors and actresses could no longer appear in films, as
the Japanese forcedly banned it and confiscated all film equipment. Yet, the
comedia, zarzuela, and bodabil remained in the country as forms of
entertainment and expression. Later on, the bodabil evolved to become
staged variety shows with a short melodrama at the end to welcome the
actors and actresses. The Manila Grand Opera House and the Savoy
Theatre became home venues of bodabil performances.

Then after
slowly lost its strength and
presence. Stage shows became
small and less-valued
performances held in open-air
stages in the provinces.
Unfortunately, the bodabil
deteriorated over decades.

PHILIPPINE THEATER IN THE

MODERN WORLD

When the Japanese regime was over, the Philippine theatrical forms
has evolved to become an assimilation of the various influences such as
zarzuela, comedia, bodabil, and western classics. Theatre was largely
performed using English
language as it became a great
part of classroom education.
Meanwhile, zarzuelas such as
“Paglipis ng Dilim” “Ang
Kiri,” and “Dalagang Bukid,”
became popular beyond their
respective regions of origin.
 The “legitimate” theatre was held in the enclosed theaters that become
a business entertainment event and no longer for ritual purposes. From
there, Filipino playwrights such as Severino Montano, Wilfrido Ma.
Guerrero, and Alberto S. Florentino honed their crafts and contributed to
the development of performing arts in the Philippines. In the modern times
of the Philippines, two perennials also turned up—a record-setting for
seventh runs of “Rak of Aegis,” and the fourth version of Tanghalang
Pilipino’s (TP) “Mabining Mandirigma”— alongside smaller but no less
absorbing fare such as Sandbox’s redesigned “Dani Girl.”

Some of the popular plays that marks to the hearts of the Filipinos
with Spanish touch were the Dulaang UP (DUP), the staged English and
Filipino versions of Federico García Lorca’s “The House of Bernarda Alba”
and Lope de Vega’s “Fuente Ovejuna”; MINT College did Lorca’s “Yerma”;
and the Theater Arts program of De La Salle-College of St. Benilde had
showcased “Ang Dakilang Teatro ng Daigdig” (in part, Calderón de la
Barca’s produced story “The Great Theater of the World” and “El Mar de
Sangre”, Lorca’s “Blood Wedding,” which Artist Playground
deconstructed into “Buwan” for its actors’ recital.

Through the years, Philippine theatre groups have staged several

performances in both English and Filipino versions. The Spanish culture
and traditions largely influence performing arts in the Philippines, but the
contemporary style is dominantly mixed from the Americans. Classic shows
such as the Westside Story and Sound of Music became popular in later
years in Philippine locale when it was performed in the various local stages.
In the modern times, international theatrical productions such as The Lion
King, The Cats, Phantom of the Opera and others have led the Philippines to
shift fast to modern theater driven by American influence.

Theater of Social Concern (1965-1968) Theatre practitioners

courageously uphold its goal to create social and political change. Poverty,
injustice, oppression, graft and corruption became common themes during
this period for purposes of mass education.
 Social and Political Commitment

The 20th century in the Philippines has been strongly marked by

political events and domestic problems like how the country and the nation
should be led after the overthrow of Marcos’ rule, the HIV awareness theater
plays and more. Cecile Guidote-Alvarez, the Filipino “culture caregiver”,
who studied in the USA, came back to her country and created one of the
most significant Filipino theatre group ever - the Philippine Educational
Theater Association (PETA) became an organization of creative and critical
artist-teacher-cultural workers committed to artistic excellence and a
people’s culture that fosters both personal fulfilment and social
transformation. It roots its foundation in the use of theater that is distinctly
Filipino as a tool for social change and development. The company has lived
by this principle as it continues to evolve with the changes that have
occurred within and around it. It continues to push for first-rate quality
theater while never taking for granted that the art it produces and teaches
always serves a greater purpose. Nowadays PETA leads several theatre
educational programs such as The School of People’s Theater (trains young
people), the PETA Metropolitan Teen Theater League Program, Children’s
Theater Program, Arts Zone Project) and first of all, its performing pillar –
the Kalinangan Ensemble – regularly perform plays in the PETA Theater
Center in Quezon City.

As the time goes by, theater in the

Philippines becomes the blockbuster
entertainment among Filipinos and the
number of artists eventually multiplied. From
there, many theatrical crafts which has been
produced not just only for commercial
purposes but for competitive quality standard as well. Just like Lea Salonga
awarded as Best Actress in the
musical play “Sweeney Todd: The
Demon Barber of Fleet Street. It is
interesting to note that the
creativity among Filipinos turned to become vibrant and glorious in terms of
performance, purpose and impact.

ACTIVITY
Activity 1
Each group will create a spoken word poetry inspired by the
contemporary performing art movement of the Philippines. You may use
Tagalog or English medium of language. You may choose the theme or
contemporary issues as your subject. Submit it in a video format through
the link to be given to you. Your performance will be evaluated using a
performance rubric.
Rubric for scoring:

SPOKEN WORD POETRY RUBRICS ASSESSMENT

Criteria/Rating 4 3 2 1
Excellent Very Satisfactory Satisfactory Needs Improvement

Content The entire poem shows The entire poem shows The entire poem shows Some part of the
the truth and full the truth and with the truth and with little poem shows the
integration of the key minimal integration of integration of the key truth and with no
ideas for Philippine the key ideas for ideas for Philippine integration of the
contemporary matters Philippine contemporary matters key ideas
contemporary matters

Vocal Highly effective and Moderately effective Slightly effective and Not effective; not
Intonation, expressive loud and expressive loud expressive loud loud and requires
Loudness and intonation used to intonation used to intonation used to more practice with
Expression reinforce mood, voice, reinforce mood, voice, reinforce mood, voice, intonation in the
and characterization. and characterization. and characterization. performance

The Product Clear evidence of Some evidence of Little evidence of No evidence of

fluency, flexibility, fluency, flexibility, fluency, flexibility, fluency, flexibility,
originality ad originality ad originality ad originality ad
elaboration is seen in elaboration is seen in elaboration is seen in elaboration is seen
the final product the final product the final product in the final product

Language Highly effective use of Moderately effective Slightly effective use of Not effective use of
Used strong vocabulary in use of strong strong vocabulary in vocabulary in
English, Filipino and vocabulary in English, English, Filipino and English, Filipino and
local dialect as it Filipino and local local dialect as it local dialect
relates to the cultural dialect as it relates to relates to the cultural
identity. the cultural identity. identity.
 Structure All lines and stanzas Most Lines and Lines and stanzas do Organization of the
are carefully chosen to stanzas are carefully not effectively reinforce lines or stanzas is
reinforce rhythm. The chosen to reinforce rhythm. Most of the not apparent.
poem is organized in a rhythm. The poem is poem is ineffectively
way that naturally lends organized in a way that organized.
itself to spoken word. lends itself to the
spoken word.

Body Excellent use of facial Very good use of facial Some use of facial Minimal use of body
Language expression, gestures expression, gestures expression, gestures language to
and body language. and body language. and body language. enhance poem.
Uses vivid, detailed Uses vivid, detailed Uses vivid, detailed Minimal use of body
images and rich, images and rich, images and rich, language to
imaginative language. imaginative language. imaginative language. enhance poem.

Points _________ Points________ Points__________ Points_______

Total: _______

WRAP-UP

Let us familiarize of what we’ve learned today. Let’s supply our own
ideas to this unfinished statement. Let’s start.
I learned that ______________________________________________________
__________________________________________________________________________.

VALUING

Filipinos version of theater is indeed a hybrid type. In our lives,

though we were colonized, there’s always a reason why those things
happened. However, it’s a big challenge for us to learn the lessons and keep
what is essential to be kept for our benefits and for the welfare of many. The
struggles of yesterday could be a beautiful story to be told by tomorrow.

POST-TEST
DIRECTION: Read the statement carefully and identify the term being
described stated in each item. Write your answers legibly on the space
provided before each number.

_________1. A Filipino “culture caregiver”, who studied in the USA and

founded the Philippine Educational Theater Association (PETA.

_________2. It is also called as Moro-Moro, linambay, or arakyo.

_________3. It is a secular comedy play telling the story of war between

Christians and Muslims through the forbidden love of the prince
and the princess.

_________4. It is a form of musical theater blended with spoken word and

song that celebrates various Catholic liturgical ceremonies.

_________5. A period of time when early theater in the Philippines has

started in the form of indigenous rituals, oral contests, games,
songs and dances to worship gods

REFERENCES

Monte Christo. “Theater and Performance Art on Stage and On. Human Development
Studies, Social Sciences & Tourism Professor May 6, 2017

https://www.britannica.com/art/theatrical-production/Types-of-production

https://www.slideshare.net/PennVillanueva/the-introduction-to-contemporary-arts

https://journals.openedition.org/mimesis/342

https://www.google.com/search?
q=philippine+theater+picture&source=lnms&tbm=isch&sa=X&ved=2hUKEwjItvf86YbrAhUKxYsBHQU
rD3cQ_AUoAXoECA0QAw&biw=1687&bih=738#imgrc=jBS -AMbL0VMkjM

https://www.google.com/search?q=picture+of+pre-
colonial+time+in+theater&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjnnZvg6obrAhUkGqYKHW4f
BKUQ_AUoAXoECA0QAw&biw=1687&bih=738#imgrc=q3delcpDM1UN9M

https://www.google.com/search?
q=bodabil+during+american+colonization&source=lnms&tbm=isch&s
a=X&ved=2ahUKEwjWyY637YbrAhUUw4sBHWYgAXAQ_AUoAXoECA0QAw&biw=1707&bih
=760#imgrc= RrRfFPUUPl7T6M
https://www.google.com/search?
q=Japanese+occupation&source=lnms&tbm=isch&sa=X&ved=2ahUKE
wj3m8qc74brAhX9yosBHXyZAWgQ_AUoAXoECBwQAw#imgrc=aifyauPWsC3KtM
https://www.google.com/search?
q=philippine+theater+picture&source=lnms&tbm=isch&sa=X&ved=2h
UKEwjItvf86YbrAhUKxYsBHQUrD3cQ_AUoAXoECA0QAw&biw=1687&bih=738#imgrc=jBS-

AMbL0VMkjM https://www.google.com/search?q=picture+of+pre-

colonial+time+in+theater&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjnnZvg6obrAhUkGqYK
HW4fBK UQ_AUoAXoECA0QAw&biw=1687&bih=738#imgrc=q3delcpDM1UN9M