Q2 Lesson Exemplar Music & Arts Grade 7 2024-2025 PDF

7 Quarter 2 Lesson Exemplar Lesson for Music and Arts 1 IMPLEMENTATION OF THE MATATAG K TO 10 CURRICULUM Lesson Exemplar for Music and Arts 7 Quarter 2: Lesson 1 (Weeks 1) SY 2...

7 Quarter 2 Lesson Exemplar Lesson for Music and Arts 1 IMPLEMENTATION OF THE MATATAG K TO 10 CURRICULUM Lesson Exemplar for Music and Arts 7 Quarter 2: Lesson 1 (Weeks 1) SY 2024-2025 This material is intended exclusively for the use of teachers in the implementation of the MATATAG K to 10 Curriculum during the School Year 2024- 2025. It aims to assist in delivering the curriculum content, standards, and lesson competencies. Any unauthorized reproduction, distribution, modification, or utilization of this material beyond the designated scope is strictly prohibited and may result in appropriate legal actions and disciplinary measures. Borrowed content included in this material are owned by their respective copyright holders. Every effort has been made to locate and obtain permission to use these materials from their respective copyright owners. The publisher and development team do not represent nor claim ownership over them. Development Team Writers: Jemuel Barrera Garcia (West Visayas State University) Ryan L. Puljanan (West Visayas State University) Validators: Rus Will E. Ledesma (West Visayas State University) PNU Development Team Management Team Philippine Normal University Research Institute for Teacher Quality SiMERR National Research Centre Every care has been taken to ensure the accuracy of the information provided in this material. For inquiries or feedback, please write or call the Office of the Director of the Bureau of Learning Resources via telephone numbers (02) 8634-1072 and 8631-6922 or by email at [email protected]. MUSIC AND ART / QUARTER 2 / GRADE 7 (WEEK 1) I. CURRICULUM CONTENT, STANDARDS, AND LESSON COMPETENCIES A. Content The learners demonstrate understanding of the conventional local folk Music and Arts common to the Philippines Standards and selected Southeast Asian countries, including the subjects, themes, concepts, mediums, processes, techniques, and/or practices. B. Performance The learners incorporate characteristics of selected Philippine and Southeast Asian traditional or folk music and art Standards in their creative work, using conventional, contemporary, and emerging concepts, processes, techniques, and/or practices in Music and Arts. C. Learning Learning Competencies Competencies a. Explain similarities within the Philippine regions and with selected Southeast Asian countries in terms of local and Objectives subjects, themes, and mediums influenced by the concepts, processes, techniques, and/or practices. Learning Objectives In particular, the students should be able to: a. Detail the commonalities of Iloilo Panay Bukidnon’s sugidanon (epic-chanting) with Indonesia’s sulukan (vocal music) b. Explain the intersections of sugidanon and sulukan in terms of concepts and practices D. Content Theme: Conventional Traditional or Local Folk Music & Arts (Pre-war) Common to the Philippines & Southeast Asia I. PERFORMING ARTS A. Music A1. Traditional or Local Folk Music Common to the Philippines and Southeast Asia A1.1 Vocal Music: Panay Bukidnon’s sugidanon with Indonesia’s sulukan Note: The selection of countries for this quarter depends on the extent of foreign influences and/or the presence of foreign (Southeast Asian) nationals dominant in one’s locality/region. E. Integration A. Global Citizenship- Through two weeks of learning conventional traditional or local folk music and arts (pre- war) common to the Philippines and Southeast Asia, students are expected to develop attitudes of care and empathy for others and the environment and respect for diversity. 1 II. LEARNING RESOURCES 4ever2wherever. (2020, March 3). Indonesia-Flores-Sikka-Ikat village. YouTube. https://www.youtube.com/watch?v=BFHUTYBbOeE Alamo, J. (2021, April 27). Panay Bukidnon 2021. YouTube. https://www.youtube.com/watch?v=CBx9-8_w628 Asia Society. (2023). Wayang Kulit: Indonesia's extraordinary shadow puppetry tradition. https://asiasociety.org/new-york/wayang-kulit-indonesias-extraordinary-shadow- puppetry-tradition Asian Art Museum. (2017, January 24). The making of Balinese double ikat textiles. YouTube. https://www.youtube.com/watch?v=KECVOceXWkc Brookfield, S.D. and Preskill, S. (1999). Discussion as a Way of Teaching: Tools and techniques for democratic classrooms. San Francisco: Jossey-Bass Publishers. Broughton, S. et al., (eds.) (2006). The Rough Guide to World Music. London: The Rough Guides, ISBN 978-1843535515 Caballero-Padernal, E. (2019). The Panay Bukidnon Sugidanon (epic) and prototype glossaries for epic excerpts. Philippine Journal of Social Sciences and Humanities. https://pjssh.upv.edu.ph/wp-content/uploads/2021/04/The-Panay-Bukidnon-Sugidanon-Epic-and-Prototype-Glossaries-for-Epic-Excerpts.pdf Castor, D. (2021, October 14). Binanog dance. YouTube. https://www.youtube.com/watch?v=6ypSQ8QcDh4&t=102s Center for Southeast Asian Studies. (2023). Southeast Asia Country Information and Resources. https://seasia.wisc.edu/southeast-asia-country-information-and-resources/ Crane, K. (2023, August 15). The new ikat collection by Design Pool. https://www.designpoolpatterns.com/the-new-ikat-collection-by-design-pool/ Daily Guardian. (2022, May 31). National Museum WV caps #NHM2022 with ‘Tunog Panay Bukidnon’. Photos by Maricyn A. De los Santos. https://dailyguardian.com.ph/national-museum-wv-caps-nhm2022-with-tunog-panay-bukidnon/ Daya, M. (2017, October 27). Suluk Nyamleng Ki Seno. YouTube. https://www.youtube.com/watch?v=hObzZB1tp5g Design Pool. (2023). Ikat: Definition, history and design. https://www.designpoolpatterns.com/ikat-definition-history-design/ Diwerent. (2023). Bun Bang Fai- The Rocket Festival- Merit making with a bang. https://diwerent.com/blog/bun-bang-fai---the-rocket-festival---merit-making-with-a-bang!-299 D’Empire. (2020, March 14). Binanog. Facebook. https://www.facebook.com/IloiloPageantCamp/videos/190452235732159 Earl. (2011). Musikoleksyon. https://museomusiko.wordpress.com/ Ensemble Gending. (2023). Gambang. https://www.gending.nl/en/gamelan-2/additional/ Festivalscape. (2023). Hirinugyaw Suguidanonay Festival. https://www.festivalscape.com/philippines/iloilo/hirinugyaw-suguidanonay-festival/ Franco, Brevish. (2021, November 16). Binanog: instructional video. YouTube. https://www.youtube.com/watch?v=ZRYrJRZBf88 Freeworldmaps. (2005-2021). Indonesia maps. https://www.freeworldmaps.net/asia/indonesia/ Gamosa, S. G. (2014). The socio-political organization of the bukidnon (halawudnon-bukidnon) indigenous cultural/Indigenous Peoples (IC/IP) communities of Calinog, Iloilo. National Commission on Indigenous Peoples, Regional Office 6, Iloilo City. Garcia, J. (2018). Flying without wings: The Philippines’ binanog dance. https://gluckprogram.ucr.edu/sites/default/files/2018-11/D45_BinanogDance.pdf Gamelan. (2022, October 22). New World Encyclopedia. Retrieved 13:31, October 31, 2023 from https://www.newworldencyclopedia.org/p/index.php?title=Gamelan&oldid=1083357. Gilbaliga, Rolinda. (2019, September 16). Epic chant: Sugidanon of Panay Bukidnon. YouTube. https://www.youtube.com/watch?v=lCCJ7PcQzyM GMA Public Affairs. (2017, May 25). iJuander: Kulturang Panay-Bukidnon, tampok sa 'I Juander'. YouTube. https://www.youtube.com/watch?v=QrDRA-gmjWU&t=339s Great Big Story. (2020, September 17). In Malaysia, Darth Vader is leading a shadow puppetry revival. YouTube. https://www.youtube.com/watch?v=7HGy2ncM010&t=10s Great Big Story. (2023, August 23). Thailand’s homemade Rocket Festival. YouTube. https://www.youtube.com/watch?v=wda-B3NJSek Hidayat, A. (2002). Sarong. Encyclopedia Britannica. https://www.britannica.com/topic/Javanese-people Jocano, F. L. (2000). Hinilawod: Adventures of Humadapnon, chanted by Hugan-an. Punland Reseach House. Kammerer, C. A., Tannenbaum, N. (1996). Merit and Blessing: In mainland Southeast Asia comparative perspective. Southeast Asian Studies (Monograph 45). New Haven: Yale University. Lerona, E. (2022, February 1). Binanog dance for the UP Visayas AY 2021-2022 virtual opening program. https://www.youtube.com/watch?v=_hrTDFaDS48&t=3s Luján, N.C. (2022, May 28). What is a subing? Facebook Video. https://www.facebook.com/watch/?v=393411376141684 Mahashankh Design. (2023, June 28). Ikat patterns. Medium. https://medium.com/@mahashankh.design/ikat-patterns-525af071a305 Marin, B. (2011). TINUBKAN: An Indigenous fashion show. https://mybeautifuliloilo.blogspot.com/2012/05/tinubkan-indigenous-fashion-show.html Marin, B (2017, January 1). Binanog Festival. https://mybeautifuliloilo.blogspot.com/2017/01/binanog-festival-promoting-cultural.html Markmillmore. (2008, July 16). Javanese Shadow Puppet- Wayang Kulit. https://www.youtube.com/watch?v=FJXxWfWHvBc Miacademy Learning Channel. (2023). Southeast Asia, part I: Mainland nations. https://www.youtube.com/watch?v=Eq_fmytMjzk 2 Miacademy Learning Channel. (2023). Southeast Asia, part II: Island nations. https://www.youtube.com/watch?v=9rJszUttzbo Miller, T. & Williams, S. (2011, March 17). The Garland handbook of Southeast Asian music. Routledge. Mohd, A. I., Ramli, A.S. (2008). Shadow play: Malay traditional theatre. Kuala Lumpur, Malaysia: Malaysian Handicraft Development Corporation (Call no. RSEA 791.5309595 MOH. Muyco, M. C. M. (2008, December). (Re)opening a cultural memory: The bamboo instruments of the Panay Bukidnon. Humanities Diliman: A Philippine Journal of Humanities. https://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/1485 Muyco, M.C. (2016). Sibod: Ideology and expressivity in binanog dance, music, and folkways of the Panay Bukidnon. Quezon City: Ateneo de Manila University Press. National Commission for Culture and the Arts. (2019, July 20). Cultural masters- Rita and Rodolfo Caballero. Facebook. https://www.facebook.com/photo/?fbid=10156940643245283&set=pcb.10156940650530283 National Museum of the Philippines- Iloilo. (2019, December 11). Panay Bukidnon embroidery: Panubok. Facebook. https://www.facebook.com/media/set/?set=a.584741369004690&type=3 National Museum of the Philippines-Iloilo. (2022, May 23). Tunog Panay Bukidnon. Facebook. https://www.facebook.com/nationalmuseum.wv/photos/a.381000012712161/1204099320402222/?type=3 Nop. (2023). Indonesian Gamlan https://gamlan.wordpress.com/gamelan-instruments/gong-kempul/ Olapane, E. C., Ricardo, L. E., & Azuelo, J. M. (2021b). Cultural preservation of Panay Bukidnon-Halawodnons amidst emergent society. Journal of Humanities and Social Sciences Studies, 3(11), 41–56. https://doi.org/10.32996/jhsss.2021.3.11.4 Parangal Dance Company. (2020, March 3). Panay Bukidnon attire. Facebook. https://www.facebook.com/photo/?fbid=2509398752647385&set=pcb.2509399675980626 Sciarrino, G. (2004). Bonang. Bonang_barung_and_panerus._STSI_Surakarta.jpg Sciarrino, G. (2004). Saron. Demung_Saron_Peking,_STSI_Surakarta.jpg Setiawan, B., Wibowo, P.A.W., Prabanca, I., Indrayana, E. and Saddhono, K. (2019, August 29-30). Hermeneutics Study and Educational Value of Suluk Wayang Surakarta Style. INCOLWIS 2019, Padang, Indonesia. EAI DOI 10.4108/eai.29-8-2019.2288918. https://eudl.eu/pdf/10.4108/eai.29-8-2019.2288918 Sorrell, N. (2000). A Guide to the Gamelan. London, UK: Faber and Faber, (original 1990). (Society for Asian Music) ISBN 0966991508 Taton, Jr., J. (2021, April 7). The Panay Bukidnon talda: expressing sentiments in shifting music ecologies. Philippine Journal of Social Sciencs and Humanities. https://pjssh.upv.edu.ph/the-panay-bukidnon-talda-expressing-sentiments-in-shifiting-music-ecologies/ TedxTalks. (2019, November 20). Maduswara: a performance of voice and gamelan | Peni Candra Rini | TEDxUbud. YouTube. https://www.youtube.com/watch?v=trzyKlSjS0o The Craft Atlas. (2023). Ikat. https://craftatlas.co/crafts/ikat Treñas, J. (2021, January 24). Virtual Dinagyang mass 2021 and one Dinagyang digital presentation. YouTube. https://www.youtube.com/watch?v=aUoj2kI5aKo Tropenmuseum. (2022). Kendang of Java. Tropenmuseum, part of the National Museum of World Cultures, COLLECTIE TROPENMUSEUM Dubbelvellige tonvormige trom onderdeel van gamelan Slendro TMnr 500-7.jpg UNESCO. (2009, September 28). The wayang puppet theatre. YouTube. https://www.youtube.com/watch?v=pfydro4X2t0&t=235s UNESCO ICHCAP 유네스코아태무형유산센터. (2018, January 5). [2017 Youth Meets ICH] Video 4. Panubok, Philippines. Youtube. https://www.youtube.com/watch?v=dIsi3gctL0c Winter Wolf. (2016, October 5). Panay Bukidnon culture. YouTube. https://www.youtube.com/watch?v=wRKrhTx4M_Q&ab_channel=WinterWolf Wonderful Indonesia. (2015, January 29). Wonderful Indonesia: Culture and heritage. YouTube. https://www.youtube.com/watch?v=XrdVOE- WR9o&ab_channel=WonderfulIndonesia WOW Sound- Video Game Music Library. (2022, February 2). Gamelan textures: Recording Javanese traditional gamelan sound effects. YouTube. https://www.youtube.com/watch?v=vAWOYXySnEg 3 III. TEACHING AND LEARNING PROCEDURE NOTES TO TEACHER A. Activating Prior WEEK 1- DAY 1 OF 2 The teacher may also use Knowledge other methods that would 1. The teacher may open the lesson by asking the class about the Southeast Asian directly engage the students countries that they have covered in the first quarter in connection to its emphasis on and help them effectively contemporary and emerging music and arts of the Philippines and Southeast Asia. articulate their prior Sample questions may include (but not limited to): knowledge. This may include a game-based 1A. Can you name any Southeast Asian country that we have tackled last quarter approach in remembering as we talked about contemporary and emerging music and arts in Southeast Asia? lessons in Quarter 1. 1B. What performing and visual arts of the Philippines and selected Southeast Asian countries have you remembered that influenced their respective country’s cultural identity and diversity? B. Establishing 1. Lesson Purpose The teacher may run the Lesson Purpose next two weeks with For the first two meetings within two weeks, the students will engage with learning flexibility in terms of selected parts of Iloilo Panay Bukidnon’s expressive culture (as the specific conventional implementing student- local folk music and arts from the Philippines) including sugidanon (epic-chanting) with engagement activities and Indonesia’s sulukan (vocal music). breaking down the music and the arts aspect of the Iloilo’s Panay Bukidnons and Indonesia’s Javanese People quarter to efficiently use the lesson exemplar and Before the lesson begins, the teacher will honor the land by acknowledging the ancestors maximize opportunities for of the place where they are. Then, the teacher should acknowledge the Panay Bukidnons collaborative learning. Indigenous Peoples from where all the sophisticated knowledge systems, practices, and expressive culture present in this lesson exemplar came from. The teacher may also The teacher may also acknowledge the Indigenous Peoples of their locality, their struggles, and the ways they interchange, merge, or live in the world. bracket the topics as necessary. Other Iloilo The teacher will then flash the question below on screen with its corresponding photo to Panay Bukidnon photos gather responses from the students: may be used/added as necessary. The Panay Bukidnon Indigenous Peoples (IPs) of Calinog, Iloilo were 4  previously called "Sulod" by 1. Does anyone have any idea regarding the group of their neighbors because of people in the photo? If so, who are they? What do the sandwich-like location you know about them? If not, can anyone describe of their territory, which and associate where they may have seen what/who literally means room. The they have observed in the photo? term Panay Bukidnon was given by Dr. Alicia P. Magos, a former UP Visayas Photo Credit: National Commission for Culture and the Arts, Iloilo Panay Bukidnons. https://www.facebook.com/photo/?fbid=10156940643245283&set=pcb.10156940650530283 professor who has spent over 25 years documenting the Sugidanon epic (Olapane et al., 2021). The teacher will go to the next slide to show a video clip about the Panay Bukidnons (link: https://www.youtube.com/watch?v=wRKrhTx4M_Q) and then ask the students about their insights on what they have watched. Video clips may already be downloaded ahead of time Guide Questions: for a smoother lesson flow 1. What have you learned about the Panay Bukidnon Indigenous Peoples? and no-glitch viewing. With 2. What piqued your curiosity about the said Indigenous group? Why? this, the teacher can share 3. What have drawn you to learn more about the Iloilo Panay Bukidnons? the video clippings for students to view on their Video Notes: own time/pace. Unless 1. The video is produced by Dr. Alicia Magos, who began researching about the indicated through video Panay Bukidnons in 1988. Dr. Alicia P. Magos is an anthropologist and a time stamps, all videos professor emerita of University of the Philippines Visayas. She had extensive should be played in its and published works on the Panay Bukidnons. She was a UNESCO entirety. International Literary Research Awardee and 1999 Metrobank Ten Outstanding Teacher. More notes may be taken from the video selected 2. Dr. Magos theorized that the Panay Bukidnons were once coastal people, and ahead of time so that the because of colonization, had to retreat to the mountains following two major teacher can confidently rivers, Halawod and Pan-ay rivers. All Panay Bukidnons in the four provinces share information regarding of Panay, namely Antique, Iloilo, Capiz, and Aklan have alternative group it and expand their know- names, depending on where they get their sustenance. how of the subject matter. 3. A Panay Bukidnon house is usually a one-room affair, elevated from the ground, and made up of bamboo and nipa (or cogon). Kaingin farming, weaving, and root crop trade is a common activity. 5  4. The Panay Bukidnons strongly respect nature and are attached to the babaylanes (that offer cure) and the maaram (that provides advice). After a day’s work, Panay Bukidnons listen to sugidanon (epic-chanting). 5. Federico “Tuohan” Caballero was awarded the GAMABA (National Living Treasure) by the National Commission for Culture and the Arts in 2000 for epic literature (Caballero’s mastery of the 10 epics or suguidanon). The teacher will flash another photo, this time, introducing the Javanese people of Indonesia. The teacher may ask the following questions below to probe the students’ prior knowledge and guide them to the countries/groups of people that will be covered in the quarter. 1. From which country do you think these men in the photo come from? Can you identify the kind of attire they are wearing? Vital Information: The men in this photo are wearing a sarong. A sarong or sarung is a large tube or length of fabric, often wrapped around the waist, worn in Southeast Asia, South Asia, and Western Asia, and on many Pacific islands. The fabric has woven plaid/checkered patterns or may be brightly colored through batik or ikat dyeing. Photo Credit: Arif Hidayat, GNU Free Documentation License Version 1.2. https://www.britannica.com/topic/Javanese-people The teacher will then give a glimpse of the country Indonesia: https://www.youtube.com/watch?v=XrdVOE-WR9o&ab_channel=WonderfulIndonesia The teacher will ask the students to write down some of their takeaways from the video they have just watched. Students should be asked to pay attention to how Indonesia and its culture is described and think about the similarities and differences of Indonesian culture to Filipino culture. 6  Activity: Think-Pair-Share After writing their insights, 1. What similarities and differences have Philippines and Indonesia have in terms the teacher may ask the of their culture and traditions? students to find a partner to share their insights with 2. What aspects of our culture do we share with other Southeast Asian countries and workout responses like Indonesia? from the given questions. 3. How did Southeast Asian cultures become intersectional (interconnected nature of social organizations)? 2. Unlocking Content Vocabulary In unlocking the terms, it is The teacher will then proceed to unlocking terms that the students may find helpful in suggested that photos understanding the lessons for the next two weeks. Using the next set of slides, the and/or videos may be used teacher may present the following terms: as necessary to provide a visual cue of the word being 1. Indonesia- the largest country in Southeast Asia, it is located off the coast of defined conceptually and mainland Southeast Asia in the Indian and Pacific oceans. operationally. 2. Panay Bukidnons- The Panay Bukidnons, also known as Sulodnon, Halawodnon, or Panayanon Sulud, are the tumandok or native or Indigenous dwellers of the more interior portions of Panay Island. Aside from the Panay Bukidnons of Iloilo, other communities of Panay Bukidnons may also be found in Capiz, Aklan, and Antique. 3. Sugidanon- The term sugidanon may mean “epic-chanting” or “storytelling” depending on usage. The sugidanon are long narratives reflecting the existing customary laws, beliefs, practices, and values of the Panay Bukidnon ancestors (Caballero-Padernal, 2019). C. Developing and SUB-TOPIC 1: Sugidanon & Sulukan (part 1 of 2) Deepening Understanding Learning Objective: Detail the commonalities of Iloilo Panay Bukidnon’s sugidanon (epic- chanting) with Indonesia’s sulukan (vocal music). 1. Explicitation Guide Question: 1. What can you remember about sugidanon (or suguidanon) yesterday? 7 Vital Information: The Panay Bukidnon sugidanon is reputed as the longest published epic in the Philippines because it has ten parts in 13 volumes. There are also famous long epics such as the Darangen of Mindanao, and the Ullalim of Kalinga. 2. Worked Example The teacher will share a video clip of sugidanon culture amongst Panay Bukidnons Video time stamp through a video documentary on YouTube: 0:00 - 03:21 https://www.youtube.com/watch?v=CBx9-8_w628. Activity: Concept Mapping Sugidanon The teacher may provide a The teacher will then write the word sugidanon on the board and give the students time worksheet where students to write word/s they deem is/are associated with learning sugidanon from the video may write their notes they have just watched. regarding the video. A space for individual concept mapping may also be provided prior to doing a collective concept mapping on the board. See accompanying worksheet for this activity. The teacher will ask the students to elaborate on what they wrote. Guide Questions: For more information 1. Why did you choose to write that word/term/phrase? regarding sugidanon, see 2. How are the words/terms/phrases you wrote relevant to sugidanon? Dr. Elsie Caballero- 3. What are the characteristics of sugidanon (epic-chanting)? Padernal’s article on the Panay Bukidnon Sugidanon Vital Information: Done by a manugsugidanon (epic chanter), the sugidanon (Epic) and Prototype demonstrates the collective expressions of the Panay Bukidnon community. Told in Glossaries for Epic Excerpts Kinaray-a and Ligbok, two of the many languages in Panay, sugidanon may be which may be directly approached by singing it calmly (using pangalimog or humming). Another approach of accessed through this link: sugidanon may be done loudly (phrasing is done longer; pangalimog is done livelier). A https://pjssh.upv.edu.ph/wp- 8 third approach in doing sugidanon is through its traditional form (pangalimog is content/uploads/2021/04/Th performed with repeated lines). e-Panay-Bukidnon-Sugidanon- Epic-and-Prototype- Glossaries-for-Epic- 3. Lesson Activity Excerpts.pdf The teacher will play another video, this time featuring a Panay Bukidnon culture bearer named Rolinda Gilbaliga, one of the community’s younger practitioners of sugidanon (epic chanting): https://www.youtube.com/watch?v=lCCJ7PcQzyM Video clips may already be Activity: Group Sharing and Discussion downloaded ahead of time The teacher will divide the students into eight groups to discuss their thought process for a smoother lesson flow regarding sugidanon. A collective discussion may follow to summarize the insights of and so that the teacher may students in the class. not depend on the internet connection. With this, the The teacher may point out the significant points raised by the students and highlight teacher can share the video how other Southeast Asian countries may have similar practices. clippings for students to view on their own Guide Questions: time/pace. Unless indicated 1. What do you think are the main functions of sugidanon in the Iloilo Panay through video time stamps, Bukidnon community? all videos should be played 2. Why is it important for us to learn the expressive culture (sugidanon) of Panay in full. Bukidnons? 3. How is sugidanon, as an oral tradition, play a role in our understanding of the largest Indigenous community in Western Visayas, the Panay Bukidnon Indigenous Peoples? The teacher will close the day by giving a preview of the next lesson on sulukan. Please ask the students to pay attention and listen to the mood setting song in the wayang Video time stamp 0:00-6:52 kulit video: https://www.youtube.com/watch?v=hObzZB1tp5g WEEK 1- DAY 2 OF 2 SUB-TOPIC 1: Sugidanon & Sulukan 2/2 Learning Objective: Detail the commonalities of Iloilo Panay Bukidnon’s sugidanon (epic- chanting) with Indonesia’s sulukan (vocal music). 9 1. Explicitation Guide Question: 1. Based on our class discussion and your peer interactions yesterday, what are the characteristics of the Iloilo Panay Bukidnon’s sugidanon? Vital Information: In the Panay Bukidnon epics, the seas and rivers were the pathways of the people. The sakayan (boat) was their means of transportation. The gibwangan (mouth of the river) was their home or place of abode. There were seven gibwangan: 1) Gibungan ka Pinggan Suba ka Pinyungan, the abode of Dampig Piliw; 2) Gibungan ka Silangan Suba nga Pangalkagan, the abode of Sinagnayan; 3) Gibungan ka Burokya I- subang Gila-Gila, the abode of Paglambuhan; 4) Gibungan ka Bunlay Subang Banaybanay, owned by Patugasnon, father of Balanakon; 5) Gibungan ka Pan-ay Subang Alay-Alay, territory of Burulakaw, father of Humadapnon; 6) Gibungan ka Banggaan Subang Balunbunan, abode of Sarandihon; and 7) Gibungan ka Handug (Halawod) Subang Taub-Taob, abode of Pabu-aya, the father of Labaw Donggon (Caballero-Padernal, 2019). Activity: Mapping Indonesia The teacher will emphasize that if the Philippines have sugidanon as an example form of vocal music (chanting), other countries in Southeast Asia also have other forms of vocal music as part of their expressive culture. For example, Malaysia has dondang sayang (songs of affection), Cambodia has ayai (musical repartee), and Laos has lam and khap (vocal traditions of North and South Laos, respectively). The teacher will then show a map of Indonesia and ask the students what they know about the country, and particularly their expressive culture. Photo Credit: https://www.freeworldmaps.net/asia/indonesia/indonesia.jpg 10  Guide Questions: 1. Can anyone tell me which country map are we looking at? 2. Has anyone ever been to Indonesia? If so, what memorable experiences can you share to the class? 3. What struck you the most about Indonesia? 4. What do you know about the culture and arts of Indonesia? 5. Is anyone familiar with the term wayang kulit? Can you please tell me more about it? 6. What about sulukan? Vital Information: Yesterday, we had a glimpse of wayang kulit or a shadow puppet theater performance from Java, Indonesia. The Indonesian national motto, “Bhinneka tunggal ika” (“Unity in diversity”), refers to the extraordinary diversity of the Indonesian population that has emerged from the ongoing confluence of peoples, languages, and cultures. The country includes more than 300 different ethnic groups and more than twice as many distinct languages, and most of the major world religions, as well as a wide range of indigenous ones, are practiced there. There was also the performance of the sulukan. Sulukan is a mastermind vocal song that gives a certain atmosphere effect in a wayang show, which has a very important role, as a maker, sweetener, amplifier, and builder of a scene (Setiawan et al., 2019). 2. Worked Example Video clips may already be The teacher will play a video to introduce Indonesia’s sulukan to the students. Prior downloaded ahead of time to showing the video, the teacher will segue by saying that if the Philippines have for a smoother lesson flow sugidanon as a form of epic-storytelling, Indonesia, through its wayang kulit and so that the teacher may (shadow puppet theater) have the mood setting of the sulukan not depend on the internet https://www.youtube.com/watch?v=trzyKlSjS0o. connection. With this, the teacher can share the video Guide Questions: clippings for students to 1. What have you noticed in the performance? view on their own 2. How does the sulukan function in the wayang kulit? time/pace. Unless indicated through video time stamps, 3. Lesson Activity all videos should be played in full. Activity: Buzz Trio This activity involves students engaging in short, informal discussions in response to a set of boxes to fill in. At a transitional moment in the class (after 5 minutes), have 11  the group of students turn to another group to discuss their responses. The best discussions are those in which students make judgments regarding the relative merits, relevance, or usefulness of an aspect of the lecture (Brookfield & Preskill, 1999). The table below has been converted to a worksheet for the students to fill-up individually: See accompanying SUGIDANON INTERSECTIONS SULUKAN worksheet for this activity. Iloilo, Philippines Place of Origin Java, Indonesia Long chanted stories Mood setting song by a coming from a family line puppeteer (dalang) in Nature/Purpose of epic chanters Javanese wayang (manugsugidanon) (puppet) performances Oral tradition and Long-term informal constant exposure to training under the chanting activities; lately Learning Method guidance of a master; learned at the School for lately learned in dalang Living Traditions (SLT) schools (began in 1923) (began in 2001) Chanted in archaic form Delivery Chanted, Sang, Spoken Rituals, Everyday Life (ex. Wayang Kulit, Pathetan Performance past time) pieces, poetry Wavelike melodic Surakarta style, direction, monodic, Style Yogyakarta style, and flexible East Javanese style Storytelling Function Structural, Aesthetic Reconvene as a class after 4-5 transitions and have a general discussion in which students share ideas or questions that arose within their subgroups. D. Making Activity: Sketch Notes x Concept Maps (Learners’ Takeaways) Generalizations The teacher will divide the class into groups. The students will then be given time to discuss amongst themselves their takeaways from the lessons of the class. Their collective responses will be reflected in a manila paper or cartolina where images, concept maps, and sketches should be drawn or reflected to illustrate their individual and group takeaways. Use of captions, words, or phrases is allowed. Takeaways may include what they have learned from the lesson, what connections have they made on the information provided in the lesson, and their conceptual understanding of the topic given to them. 12 IV. EVALUATING LEARNING: FORMATIVE ASSESSMENT AND TEACHER’S REFLECTION NOTES TO TEACHERS A. Evaluating Activity: Words and Illustrations Learning The teacher will flash word/s, video clips, and photo/s on screen and ask students what The teacher may add more they know about the word, image, or video. The students will be asked to elaborate, or items for formative evaluation the teacher may ask another student to add up to what has already been mentioned. as necessary. This lesson component focuses on assessing learners’ attainment of the learning objectives in context of content understanding and skill development. This involves assessment of performance and/or products using various relevant assessment methods and tools. B. Teacher’s Note observations on This lesson design component Remarks any of the following Effective Practices Problems Encountered prompts the teacher to record relevant observations and/or areas: critical teaching events that he/she can reflect on to assess the strategies explored achievement of objectives. The documenting of experiences is guided by possible areas for materials used observation including teaching strategies employed, instructional materials used, learners’ engagement in the tasks, and other learner engagement/ notable instructional areas. Notes interaction here can also be on tasks that will be continued the next day or additional activities needed. others C. Teacher’s Reflection guide or prompt can be on: This lesson design component ▪ Principles behind the teaching guides the teacher in reflecting on Reflection and for practice. Entries on this What principles and beliefs informed my lesson? component will serve as inputs for Why did I teach the lesson the way I did? the LAC sessions, which can center ▪ Students on sharing best practice; What roles did my students play in my lesson? discussing problems encountered and actions to be taken; and What did my students learn? How did they learn? identifying anticipated challenges ▪ Ways forward and intended solutions. Guide What could I have done differently? questions or prompts may be What can I explore in the next lesson? provided here. 13