MAPEH 10

● Music ● Arts ● Physical Education ● Health

Quarter4-Module3-Week3

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Introductory Message
This Learning Activity Sheet (LAS) 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 LAS is composed of different parts. Each part shall guide you step-by-
step as you discover and understand the lesson prepared for you.

“EXPLORE” are provided to measure your prior knowledge on lessons in

each LAS. 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
“ASSESSMENT” to self-check your learning.

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. And read the instructions carefully before
performing each task.

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

Thank you.

MAPEH DEPARTMENT LAS DEVELOPMENT TEAM

Grade 7 Sheryl G. Borja
Arlyn V. Alota
Grade 8 Danica Joy D. Baquilod
Sheryl Contado
Grade 9 Eugenio C. Dialino Jr.
Grade 10 Donalyn A. Gillo
Rosario B. Kitane
Mary Anthonette Y. Borja
School Principal Sixto D. Balita

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 Quarter 4:
PHILIPPINE BALLET MUSIC
Specific Objectives:
 describe the characteristics of Philippine ballets;
 identify the Tatlong Kwento ni Lola Basyang;
 watch a video clip of Philippine Ballet, and
 show appreciation in the Philippine ballet.

►EXPLORE
Matching type
Directions: Match column A with the correct answer in column B. Write the letter of
the correct answer on the space provided before each number.

Column A Column B
_____ 1. It is a fantasy story set to neo-ethnic music in A. Ang Kapatid
Contemporary style. ng Tatlong Marya

_____ 2. It is a local version of the Pied Piper tale where B.Ang

Mahiwagang
he mesmerizes his followers through the music of the Violin
violin.

_____ 3. It is a romantic adventure about a heroine named C. Ang Palasyo

ng
Yani whose heart is as beautiful as her appearance. Mga Dwende

_____4. It is a romantic fantasy about 12 daughters of the king. D.

Labindalawang
Masayang
Prinsesa

_____5. It is a horror-comedy in which the cowardly hero E. Anting-Anting

Huan tries to overcome his fears in order to win his love.

►LEARN

PHILIPPINE BALLET
The medium of dance and ballet to interpret novels, folktales, and stories provides
visual excitement as the characters come alive not in spoken dialogue but in body
movements. Much of the communication is relayed in pantomime. It is a
performance in which a story is told without words by using body movements and
facial expressions. The lack of spoken words or sung lyrics is more than made up for

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by the creative steps and arm gestures of the dancers. Their facial expressions and
body movements add more meaning to the story being revealed. The performance
is further enhanced by colorful costumes, elaborate sets, visually suggestive music,
and synchronized choreography.

Original Filipino ballets vividly present folktales and local fables, such as the beloved
stories of Lola Basyang; as well as epics from neighboring regions, such as India’s
Ramayana.
Such Filipino ballet productions have evoked wide enthusiasm from the people of all
ages. They have been added to the repertory of Philippine dance companies to
supplement the Western classical ballets, such as Nutcracker Suite, Swan Lake,
Giselle, and Sleeping Beauty

TATLONG KWENTO NI LOLA BASYANG

Tatlong Kwento ni Lola Basyang is a ballet adaptation of Severino Reyes’ folktales

Mga Kuwento ni Lola Basyang. It was meant to instill and rekindle the interest of the Filipino
youth in the beauty, richness, and heritage of Philippine literature. The typical storytelling
scene shows the grandmother (Lola Basyang, the pen name of the author) on a rocking
chair with her grandchildren listening to her fascinating tales.

Tatlong Kuwento ni Lola Basyang featured the following stories:

1. Ang Kapatid ng Tatlong Marya

This is a fantasy story set to neo-ethnic music in a contemporary style. It is about a hero’s
fantastic journey to different kingdoms in pursuit of his bewitched sisters. The music is by
Joey Ayala, with choreography by Lisa Macuja-Elizalde.
2. Ang Mahiwagang Biyulin
This is a local version of the Pied Piper tale where the main character mesmerizes his
followers through the music of his violin. The story instills in them the moral lesson that

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“good triumphs over evil.” The music is by Ryan Cayabyab, arranged by Arnold Buena, and
choreography is by Tony Fabella.
3. Ang Prinsipe ng Mga Ibon
This is a love story where a princess falls in love with a bird. It was choreographed by Ballet
Manila danseur (a male ballet dancer) Osias Barroso. The music is taken from selected
musical works of National Artists arranged by Mon Faustino.
The second episode, Tatlo Pang Kuwento ni Lola Basyang, included the
following stories:
1. Ang Palasyo ng Mga Dwende
This is a romantic adventure wherein the heroine Yani is being maltreated by
her envious stepmother and stepsisters. The cursed bird is changed back into
a prince with the help of Yani. It depicts Mindanao and the ancient Pintados
through its Neo-ethnic movements.
2. Labindalawang Masayang Prinsesa
This is a romantic fantasy about 12 daughters of the king. These 12
princesses secretly leave their bedroom at night to travel to an enchanted land
and dance with the princes.
3. Anting-Anting
This is a horror-comedy wherein the cowardly hero Huan tries to overcome his fears in
order to win his love. The slapstick comedy is enhanced by exaggerated movements as
Huan is later haunted by ghosts that add to his fears for which he looks for an anting-anting
(lucky charm) to ward them off.
Lola Basyang Stories in Other Media
Other stories of Lola Basyang which were presented in ballet were also performed in other
media forms, such as movies and television series.
Movies (Sampaguita Pictures):
1. Si Pedrong Walang Takot (Fearless Peter), starring Dolphy as the brave hero who
scares away a giant by means of an enchanted bell.
2. Ang Mahiwagang Kuba (The Enchanted Hunchback), tale of a princess who
marries a hunchback.
3. Ang Dakilang Puso ng Isang Ina (The Noble Heart of a Mother), a family drama.
4. Ang Prinsesang Naging Pulubi (The Princess Who Became a Beggar), a tale of an
overly selective princess in her suitors who later finds true love with a beggar.

Television Series:
1. Ang Prinsesang Unggoy (The Monkey Princess)
2. Ang Walong Bulag (The Eight Blind Men)
3. Maria Alimango (Maria the Crab)
4. Ang Gwapong Sastre (The Handsome Tailor)
5. Ang Mahiwagang Balabal (The Enchanted Cape)
6. Ang Dragon sa Ilog Lingwa (The Dragon at Lake Lingwa)
7. Ang Kastilyong Bakal (The Iron Palace)
8. Prinsesang Kalbo (The Bald Princess)
9. Ang Pitong Hilo (Seven Idiots)

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RAMA HARI
Rama Hari, translated as King Rama, is the Philippine adaptation of the Indian epic
Ramayana set to music, dance, and drama. Originally presented on February 8 to 17,1980,
the creative team consisted of Ryan Cayabyab (Music), National Artist Alice Reyes
(Choreography), National Artist Bienvenido Lumbera (Literature), and National Artist
Salvador Bernal (Theater Design), with the CCP Philharmonic Orchestra conducted by
Cayabyab.
The major roles were performed by Basil Valdez (Rama), Kuh Ledesma (Sita), and Leo
Valdez (Ravana). The dancers were Nonoy Froilan as the counterpart of Rama, Effie
Nanas/Ester Rimpos as Sita, and Robert Medina as Ravana. The production had the
dancers moving alongside the characters to provide the choreographic interpretation of their
singing and acting. It also featured the song Magbalik Ka Na Mahal sung by Kuh Ledesma,
which was said to be instrumental in launching her music career.

The Indian Epic Behind the Musical Production

The Ramayana is one of the two great Indian epics that tell about Indian life around 1000 BC
and how dharma was practiced. Later, it became a model of behavior for the whole Hindu
population. Dharma is a type of behavior said to be in accordance with the order that makes
life and the universe possible. According to its meaning, it explains the expectations in
fulfilling duties, respecting rights, observing proper conduct, practicing virtues, and
maintaining a rightful way of living. The epic Ramayana consists of 18 books containing
approximately 24,000 verses divided into 500 songs.
The story revolves around Prince Rama, the eldest son of Dasaratha, King of Ayodha, who
had three wives and four sons – Rama, Bharata, and the twins Lakshmana and Satrughna.
Rama, considered the incarnation of the Hindu god Vishnu. He was in line to the throne after
his father decided to retire. But, the intercession from his stepmother prevented this
succession. She relied on the king’s promise to her that he would grant any two wishes she
desired. She opted to have Rama banished to the forest for 14 years. She wanted to have
her own son and Rama’s younger stepbrother, Bharata, to ascend the throne despite the
king’s pleadings.

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Without hesitation and in keeping with the dharma, Rama heeded his stepmother’s wish and
moved to the woods of Panchavati. He was accompanied by his wife Sita and younger
brother Lakshmana. Both of whom insisted on going with him. When Bharata learned about
what happened to Rama, he lamented what his mother had done. He sought Rama in the
forest and pleaded with him to return and take his rightful position as king. Rama refused
however, citing his father’s command and her stepmother’s wish.
However, Bharata requested instead to bring Rama’s sandals. This would be placed on the
king’s throne as a symbol of his authority until he returns after 14 years. As the three spent
happy years in the forest, they come across Ravana. He was the tenheaded ruler of Lanka
and one of the forest’s evil creatures. He abducts Sita and forces her to marry him. After
some mighty battles, Rama is able to kill Ravana and rescue Sita.
However, in keeping again with the dharma and to set a good example, Rama demanded
that she prove her purity first before he could take her back as his wife. To which, Sita did.
They eventually return to Ayodha and Rama becomes king. As with Rama, Sita, and
Bharata, they also set good examples following the dharma. This epic teaches the Indians to
perform their dharma. It t has become a national symbol of divine virtues upon which their
great leaders including Mahatma Gandhi found their inspiration.
RE- STAGING OF RAMA HARI

A revival production of Rama Hari was presented at the Cultural Center of the Philippines
from November 30 to December 9, 2012 based on the 1980 version of the same production.
This time, the pop ballet musical featured singers Christian Bautista alternating with OJ
Mariano as Rama, Karylle Tatlonghari/Kalila Aguilos as Sita, and Robert Sena as Ravana.
The character dances were done by Jean Marc Cordero/Richardson Yadao for Rama, and
Carissa Adea/Katherine Trofeo for Sita. Conducting the Manila Symphony Orchestra was
Jeffrey Solares.
The production made use of jeweled costumes with richly embellished ornaments as
headdresses and bangles against a set backdrop that was basically minimalist. The
predominantly red colored-based costumes of the principal characters were enhanced by
the contrasting white flowing attires of the dancers.
A related production entitled Rama at Sita was presented at the University of the Philippines
with Ariel Rivera portraying the role of Rama and Lani Misalucha interpreting Sita. Directing
the play was Floy Quintos, with choreography by Agnes Locsin.

►ENGAGE

[Music and Arts Performance Tasks Integrated]

See page

►ASSESSMENT
TRUE OR FALSE: Write TRUE if the statement is correct and FALSE if the
statement is wrong.
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_______1. Ang Walong Bulag is a horror-comedy in which the cowardly hero Huan
tries to overcome is fears in order to win his love.

_______2. Ang Labindalawang Prinsesa is a romantic fantasy about 12 daughters of

the king.

_______3. Ang Palasyo ng Mga Dwende is a romantic adventure about a heroine

named Yani whose heart is as beautiful as her appearance.

_______4. Ang Nakakatakot na Violin is a local version of the Pied Piper tale where
the mesmerizes his followers through the music of the violin.

_______ 5. Ang Kapatid ng Tatlong Marya is a fantasy story set to neo-ethnic music
in Contemporary style.

Quarter 4: ARTS
Roles in Stage Production
MELC:
 contribute to the conceptualization of an original performance; A10PR-IVd-4

Specific Objectives:
 Analyzed the difference of their themes in performing

►EXPLORE
MULTIPLE CHOICE
Directions: Read the statements carefully and choose the best answer by shading
the circles.

____ 1. Responsible in creating the mood of each scene in the play, highlighting a
dramatic moment, signaling the entrance of a character, focusing attention on a
specific spot on stage, or even providing the blanket of darkness for set and prop
changes.
a. Sound designer c. Set designer
b. Costume designer d. Lighting designer

____ 2. Coordinating all the complex behind-the-scenes details of staging a play

a. Director c. Production manager
b. Playwright d. Technical director

____ 3. The overall artistic coordinator of the entire production.

a. Lighting designer c. Playwright
b. Director d. Production manager
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____ 4. The writer of the script intended for stage performance.
a. Playwright c. Director
b. Producer d. Designer

____ 5. Is the person who takes the play from a mere concept to an actual finished
presentation.
a. Choreographer c. Producer
b. Designer d. Director

►LEARN:

@ Producer – In a professional stage production,

this is the person who takes the play from a mere
concept to an actual finished presentation.

@Director – The director is the overall artistic

coordinator of the entire production.

@Playwright – For a script intended for stage

performance, the writer of the script is more
specifically called a playwright.

@Set designer – The concept and creation of the

physical stage setup is the task of the set designer.

@Lighting designer – Lighting is critical in creating the mood of each scene in

the play, high lighting a dramatic moment, signaling the entrance of a
character, focusing attention on a specific spot on stage, or even providing the
blanket of darkness for set and prop changes.

@Costume designer – The actors and actresses

must look believable in their roles, and much of this
is owed to the costume designer and deliberates on
the characters’ main attire. @Sound designer – the
sound designer serves a vital role in creating and
enhancing the atmosphere of the performance.

@Production manager – Coordinating all the

complex behind the-scenes details of staging a play
is the production manager

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 @Technical director – The technical director shadows the play’s director
throughout the entire production process.

@Choreographer – In cases where a play involves

dance in certain scenes, a choreographer is
included in the production team.

@Makeup designer – is brought in to plan the

hairstyles and makeup to complement the
costumes.

►ENGAGE
[Music Performance integrated]

FINAL PERFORMANCE TASK: “THE STAGE IS YOURS”

1. Applying what you have learned from operas/theater, create a plot/story about
“LOVE OF PARENTS FOR THEIR CHILDREN”
2. Assign each personnel from family members to perform duties and responsibilities of
each personnel.
3. Interpret the crafted plot/story in a form of theater/opera.
4. Record your performance in an MP$ format/video and submit in any social media
platform tagging your teacher.

Criteria:
1. Appropriateness of Gestures, movements etc. 30%
2. Make up, costume, props, music 30%
3. Visual Designs/Creativeness 20%
4. Over-all Production 20%

►ASSESSMENT

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Direction: Read the paragraph and choose the right answer inside the
box.

Costume designer Sound designer

Makeup designer Technical Director
Set designer

____________ 1. An individual that shadows the play’s director throughout the entire
production process.

____________ 2. Serves a vital role in creating and enhancing the atmosphere of

the performance.
___________ 3. Responsible for the concept and creation of the physical stage
setup.
___________ 4. Manage to plan the hairstyles and makeup to complement the
costumes.

____________ 5. The actors and actresses must look believable in their roles, and
deliberates on the characters’ main attire.
ARTS
Key to Corrections: Assessment
Music 1. Technical Director
Explore Assessment 2. Sound Designer
1. A 1. FALSE 3. Set Designer
2. B 2. TRUE 4. Makeup Designer
3. C 3. TRUE 5. Costume Designer
4. D 4. FALSE Explore
5. E 5. TRUE 1. D
2. C
3. B
4. A
5. C

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