Grade 4 Music and Arts Lesson Exemplar (Quarter 2, SY 2024-2025)

4 Quarter 2 Lesson Exemplar WeQuarter Lesson for Music and Arts 1 IMPLEMENTATION OF THE MATATAG K TO 10 CURRICULUM Lesson Exe...

4 Quarter 2 Lesson Exemplar WeQuarter Lesson for Music and Arts 1 IMPLEMENTATION OF THE MATATAG K TO 10 CURRICULUM Lesson Exemplar for Music and Arts Grade 4 Quarter 2: Lesson 1 (Week 1) SY 2024-2025 This material is intended exclusively for the use of teachers participating 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 Writer: Alma Vida G. Gallardo (Benguet State University) Validator: Wesly M. Tayag (San Vicente Pilot School For Philippine Craftsmen) 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].  LESSON EXEMPLAR MUSIC AND ARTS / QUARTER 2 / GRADE 4 I. CURRICULUM CONTENT, STANDARDS, AND LESSON COMPETENCIES A. Content The learners demonstrate understanding of local concepts, processes, and practices of Music and Arts as influenced by Standards the faiths and beliefs of the province. B. Performance The learners improvise creative works that depict the faiths and beliefs of the province, using local concepts, processes, Standards and practices in Music and Arts. C. Learning Learning Competency Competencies and Objectives Discuss the basic concepts and principles of sound, theater, dance, and visual elements based on the representations of local creative works Learning Objectives: Identify creative works in one's local area; Recognize the basic concepts and principles of sound, theater, dance, and visual elements based on the Bendian Dance and the traditional attires of Benguet; and Explain the basic concepts and principles of sound, theater, dance, and visual elements of Bendian Dance Note: The material to be used will be determined and selected by the teacher based on the relevant creative works available in their province. C. Content Basic concepts and principles of sound, theater, dance, and visual elements Faiths and Beliefs in the Province on Music and Arts D. Integration SGD 11 Sustainable Cities and Communities: Protect Cultural and Natural Heritage Culture Identity Faiths and Beliefs 1 II. LEARNING RESOURCES Being Igorot. (2024, May 3). Kabayan Bendian dance, BINDIYAN FESTIVAL 2024 [Video]. YouTube. https://www.youtube.com/watch?v=DAClSM_yZFw Berto. (2022, June 12). The Attire Of An Ibaloy Woman - The Philippines Today. The Philippines Today. https://thephilippinestoday.com/attire- of-an-ibaloy-woman/ Biggest Bendian Dance of Benguet attempts Guinness World Record. (n.d.). WowCordillera. https://www.wowcordillera.com/2017/11/biggest- bendian-dance-of-benguet.html Day, A. S. (n.d.). Chua.docx. Scribd. https://www.scribd.com/document/451975258/Chua-docx gongs in benguet - Bing. (n.d.). Bing. https://www.bing.com/search?q=gongs+in+benguet&qs=n&form=QBRE&sp=- 1&ghc=1&lq=0&pq=gongs+in+benguet&sc=10-16&sk=&cvid=9D39A8D78EB44DAA97CB655C695EAE8B&ghsh=0&ghacc=0&ghpl= Gong-making facility, pormalen a naipaima kadagiti gong-makers ti Mankayan, Benguet - Bombo Radyo Baguio. (2019, June 28). Bombo Radyo Baguio. https://baguio.bomboradyo.com/gong-making-facility-pormalen-a-naipaima-kadagiti-gong-makers-ti-mankayan-benguet/ Joan Manamtam. (2022, April 18). Chua Ay - Grade 4 song [Video]. YouTube. https://www.youtube.com/watch?v=ogifedZbyos Katutubo Exchange Philippines. (2020, July 11). KAMBAL, DIVIT & SHENGIT - this is the traditional attire of the Ibaloy women of Benguet. Kambal is called the blouse [Image]. Facebook. https://www.facebook.com/photo?fbid=1936398839829972&set=kambal-divit-shengit- this-is-the-traditional-attire-of-the-ibaloy-women-of-bengu Leonisa. (2014, March 19). Ibaloi. Pinterest. https://ph.pinterest.com/pin/465981892667011914/ Marcusdark. (2016, May 14). CULTURAL CONCOCTION: IGOROT’S MAGNUM OPUS. Culturalconcoction. https://culturalconcoction.wordpress.com/2016/05/13/educational-blog-post/ National Unity Party. Bendian Festival in Benguet, Mountain Province (1994, November 6). NUP. https://nup.org.ph/Lifestyle/Cat/Guide/Article/21 Official Pan Abatan Records TV. (2020, June 19). Municipality of Kabayan BINDIAN DANCE (Pan-Abatan Records) [Video]. YouTube. https://www.youtube.com/watch?v=4EtVL2xxJ24 Oliver Cabarubias. (2021, April 11). BENDIAN DANCE OF BENGUET| Dance Tutorial [Video]. YouTube. https://www.youtube.com/watch?v=_2Sw9QoDENY How To Dance Bendian. (n.d.) Isna Tako. https://isnatako.blogspot.com/2012/08/how-to-dance-bendian.html III. TEACHING AND LEARNING PROCEDURE NOTES TO TEACHERS 2 A. Activating Prior DAY 1 Knowledge 1. Short Review The teacher may use other Let the learners do the following: songs popular in their province and may prescribe other o Sing along with the song “Chua-ay.” movements that correspond to https://www.youtube.com/watch?v=ogifedZbyos&t=23s the beat of the song. o Let the learners stand and respond to the beat of the song by stomping their right foot as they sing the song. Think (30 seconds): The class will watch the video "Chua-ay." Answer Me! (Think-Pair-Share Questions) Learners will think about this o Think: Describe what is happening in the song? question and come up with an o Pair – Identify the vocal and instrumental music used? answer in their head. o Share – Relate the song to the culture of the Igorot Tribes? Pair (1 minute): Learners will Chua-ay is a song that depicts the Igorot tribes at work, pounding rice using a huge look for a partner nearby and mortar and heavily weighted posts to separate the rice grains. Show the picture discuss the answer to the below. following questions for 1 minute. Share (2 minutes): The teacher will call on a few pairs to share their thoughts done in the Pair activity with the class. As a class discussion the teacher can ask question #3. Image source: https://www.scribd.com/document/451975258/Chua-docx Foot stomps suggest the mortar and pestle action that also enhances the earthy character of the song. 3  2. Feedback (Optional) B. Establishing 1. Lesson Purpose Lesson Purpose The teacher will ask the pupils to enumerate all the celebrated festival they The teacher may choose a know as a way of sharing their cultural beliefs and practices. The pupils will traditional practice/event in give all festivals within their community that manifest sharing of their province. cultural beliefs and practices, these may include the Bindiyan Festival. The teacher will discuss that the Benguet Festival Dance or also known as Bindiyan Festival is an annual event celebrated every April to May to showcase the Ibaloi culture of the municipality of Kabayan. 2. Unlocking Content Area Vocabulary Rearrange the scrambled letters in each item to form the words related to the topic. Use the clues provided to answer this activity. SCRAMBLED DEFINITION UNSCRAMBLED Answer key: WORDS WORDS 1. Dance EDNCA To move the body and feet to the music. 1. 2. Bendian DNNBAIE Ceremonial dance of the Igorot. 2. 3. Tapis PISAT It is a wrap-around skirt for women. 3. 4. Bahag AAGBH A traditional loincloth worn by men in 4. 5. Pitch the Igorot ethnic group. 6. Gong TCHPI The highness and lowness of a sound. 5. 7. Solibao GNOG The instrument is heated, then pounded 6. and bent using a metal cylinder to create a particular sound. SLBOOIA The instrument is played by striking the 7. drumhead using the palm C. Developing and SUB-TOPIC 1: Discussing the basic concepts and principles of sound, theater, The teacher may use their local Deepening dance, and visual elements based on the representations of local creative works in their place or Understanding creative works province. 1. Explicitation 4  Let the class watch this video of the Benguet Festival Dance: https://www.youtube.com/watch?v=DAClSM_yZFw&t=253s After watching, the teacher will ask the following question to process the video. What do you call the circle dance performed during the Bindiyan festival? Answer: The Bendian Dance, also known as the Bendayan or Bindiyan, is a circle dance that has traditionally been associated with the advent of prosperous headhunters. It is a feature of every Benguet celebration, with the circles gradually giving place to other designs and interpretations. The dance's circular motions stand for the harmony and togetherness of the Benguet people. Do the dancers wear costumes when they dance? Answer: Dance costumes are essential to represent the culture of the dance, aside from making the festival more visually appealing to finish the look. Dancers put a lot of effort into realizing their choreographer's vision. The purpose of costumes is to help communicate the tale of the dance's topic while also enhancing each dancer's mobility across the stage. What are the different instruments you observe while watching the video performances? Answer: Gongs and Solibao are present during the presentation How will you respond whenever you hear the sound of gongs (gangsa) and sulibao? Answer: We dance based on the beat of those instruments. Who among you has already witnessed/experienced the Benguet Dance Festival or the Bindiyan Festival? What activities do you usually observe in Bindiyan festival? Answer: There are many activities such as those you mentioned but our lesson will focus on the popular Bendian dance and the traditional attire of the dancers which is the highlight of the festival. 5 2. Worked Example The teacher will introduce the nature of Bendian Dance. What is Bendian dance? Bendian dance is a significant dance and it originated in Kabayan, Benguet. It is staged as a ceremonial dance with the lead man, the lead dancer dancers, the gong players, and dancers which may include the rest of the community members. Bendiyan means “dance ‘til exhausted. “Men and women, young and old, can participate in the dance. The dance commences with the entrance of the lead man and the lead dancer at the center of the grounds bearing spears, shields, and a dummy head as seen in the video clip. Bendian is performed for many reasons. Some of these are to heal a prolonged illness, relieve natural calamities such as famine and drought, and to celebrate a bountiful harvest. The teacher will discuss the basic concepts and principles of sound, theater, dance, and visual elements present in Bendian Dance. Dance Body: The dancer’s physical form and movements. Energy: The dynamics and intensity of movement. Space: How dancers occupy and move through the performance area. Time: The rhythm and timing of dance sequences Visual Arts (Elements of Visual Composition) Line: The basic building block, creating shapes and forms. Shape: Two-dimensional areas defined by lines or color. Color: Hue, value, and intensity. Texture: Surface quality. Space: Positive (occupied) and negative (empty) areas. Form: Three-dimensional objects. 6 DAY 2 3. Lesson Activity Play a video clip of people performing the Bendian dance which can be accessed to https://www.youtube.com/watch?v=4EtVL2xxJ24 during the festival and let the learners observe and take note of the of following: hand positions footwork movements formation pacing instruments traditional attire props The teacher will introduce the different instruments used in Bendian dance. o The main instruments in playing the bendian dance are gongs and solibaos 7 o The gongs (gangsa) are made with the help of a hammer and anvil, which is a hefty iron block that is heated, then pounded and bent using a metal cylinder to generate a particular sound, typically dependent on its placement in an ensemble. o Takik and bungkaka, on the other hand, are optional or alternate uses. o Playing the solibao involves striking the drumhead with your palm. The teacher will allow the pupils to describe the traditional attires of the Igorots of Benguet. Image source: https://ph.pinterest.com/pin/465981892667011914/ 8 D. Making 1. Learner’s Takeaways Generalizations Let the learners complete the following phrases: a. We learned that ___________________________________________ The teacher may write or post b. We realized that ___________________________________________ this to serve as guide for the c. We appreciated that ________________________________________________ learners. 2. Reflection on Learning a. Why is it important to experience cultural events like the Bendian Dance Festival? b. What is your plan to learn more about the Bendian dance? c. In your little ways, how can you help preserve the rich cultural traditions of Benguet? IV. EVALUATING LEARNING: FORMATIVE ASSESSMENT AND TEACHER’S REFLECTION NOTES TO TEACHERS A. Evaluating 1. Formative Assessment Learning Essay/ Narratives. Write your answers in the answer sheet. 9  What is Bendian dance, based on the symbols and representations of local faiths and beliefs? What is the importance of wearing traditional attire and playing indigenous musical instruments when performing cultural dances such as the Bendian dance? 2. Homework (Optional) B. Teacher’s Note observations on The teacher may take note of Remarks any of the following Effective Practices Problems Encountered some observations related to areas: the effective practices and problems encountered after strategies explored utilizing the different strategies, materials used, learner engagement and other related materials used stuff. Teachers may also suggest learner engagement/ ways to improve the different interaction activities explored. Others C. Teacher’s Reflection guide or prompt can be on: Teacher’s reflection in every Reflection lesson conducted/ facilitated is ▪ principles behind the teaching essential and necessary to What principles and beliefs informed my lesson? improve practice. You may also Why did I teach the lesson the way I did? consider this as an input for Did I attain all my lesson objectives? the LAC/Collab sessions. How did I encourage my students to participate in the class discussions and activities? ▪ students What roles did my students play in my lesson? What did my students learn? How did they learn? Did my pupils actively participate in all the class activities that I prepared? 10  Were the instructions in the class activities clear to the pupils? ▪ ways forward What could I have done differently? What can I explore in the next lesson? What challenges did I encounter in implementing the class activities? 11  4 Quarter Quarter 2 2 Lesson Exemplar Lesson for Music and Arts 2 IMPLEMENTATION OF THE MATATAG K TO 10 CURRICULUM Lesson Exemplar for Music and Arts Grade 4 Quarter 2: Lesson 2 (Week 2) SY 2024-2025 This material is intended exclusively for the use of teachers participating 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 Writer: Alma Vida G. Gallardo (Benguet State University) Validator: Wesly M. Tayag (San Vicente Pilot School For Philippine Craftsmen) 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].  LESSON EXEMPLAR MUSIC AND ARTS / QUARTER 2 / GRADE 4 I. CURRICULUM CONTENT, STANDARDS, AND LESSON COMPETENCIES A. Content The learners demonstrate understanding of local concepts, processes, and practices of Music and Arts as influenced by Standards the faiths and beliefs of the province. B. Performance The learners improvise creative works that depict the faiths and beliefs of the province, using local concepts, processes, Standards and practices in Music and Arts. C. Learning Learning Competency Competencies and Objectives Relate their faiths and beliefs based on the representations of local creative works with basic concepts and principles of sound, theater, dance, and visual elements Learning Objectives: Describe faiths and beliefs; Differentiate the characteristics of faiths and beliefs; Interpret the symbols and representations used in the Bendian Dance; and Explain the relevance of faiths and beliefs in the context of Bendian dance through of symbols and representations. Note: The material to be used will be determined and selected by the teacher based on the relevant creative works available in their province. C. Content Basic concepts and principles of sound, theater, dance, and visual elements Faiths and Beliefs in the Province on Music and Arts D. Integration SGD 11 Sustainable Cities and Communities: Protect Cultural and Natural Heritage Culture Identity Faiths and Beliefs 1 II. LEARNING RESOURCES Being Igorot. (2024, May 3). Kabayan Bendian dance, BINDIYAN FESTIVAL 2024 [Video]. YouTube. https://www.youtube.com/watch?v=DAClSM_yZFw Berto. (2022, June 12). The Attire Of An Ibaloy Woman - The Philippines Today. The Philippines Today. https://thephilippinestoday.com/attire-of-an-ibaloy-woman/ Biggest Bendian Dance of Benguet attempts Guinness World Record. (n.d.). WowCordillera. https://www.wowcordillera.com/2017/11/biggest-bendian-dance-of-benguet.html Day, A. S. (n.d.). Chua.docx. Scribd. https://www.scribd.com/document/451975258/Chua-docx gongs in benguet - Bing. (n.d.). Bing. https://www.bing.com/search?q=gongs+in+benguet&qs=n&form=QBRE&sp=- 1&ghc=1&lq=0&pq=gongs+in+benguet&sc=10-16&sk=&cvid=9D39A8D78EB44DAA97CB655C695EAE8B&ghsh=0&ghacc=0&ghpl= Gong-making facility, pormalen a naipaima kadagiti gong-makers ti Mankayan, Benguet - Bombo Radyo Baguio. (2019, June 28). Bombo Radyo Baguio. https://baguio.bomboradyo.com/gong-making-facility-pormalen-a-naipaima-kadagiti-gong-makers-ti-mankayan-benguet/ Joan Manamtam. (2022, April 18). Chua Ay - Grade 4 song [Video]. YouTube. https://www.youtube.com/watch?v=ogifedZbyos Katutubo Exchange Philippines. (2020, July 11). KAMBAL, DIVIT & SHENGIT - this is the traditional attire of the Ibaloy women of Benguet. Kambal is called the blouse [Image]. Facebook. https://www.facebook.com/photo?fbid=1936398839829972&set=kambal-divit-shengit-this-is- the-traditional-attire-of-the-ibaloy-women-of-bengu Leonisa. (2014, March 19). Ibaloi. Pinterest. https://ph.pinterest.com/pin/465981892667011914/ Marcusdark. (2016, May 14). CULTURAL CONCOCTION: IGOROT’S MAGNUM OPUS. Culturalconcoction. https://culturalconcoction.wordpress.com/2016/05/13/educational-blog-post/ National Unity Party. Bendian Festival in Benguet, Mountain Province (1994, November 6). NUP. https://nup.org.ph/Lifestyle/Cat/Guide/Article/21 Official Pan Abatan Records TV. (2020, June 19). Municipality of Kabayan BINDIAN DANCE (Pan-Abatan Records) [Video]. YouTube. https://www.youtube.com/watch?v=4EtVL2xxJ24 Oliver Cabarubias. (2021, April 11). BENDIAN DANCE OF BENGUET| Dance Tutorial [Video]. YouTube. https://www.youtube.com/watch?v=_2Sw9QoDENY How To Dance Bendian. (n.d.) Isna Tako. https://isnatako.blogspot.com/2012/08/how-to-dance-bendian.html III. TEACHING AND LEARNING PROCEDURE NOTES TO TEACHERS A. Activating Prior DAY 1 Knowledge 1. Short Review 2  Loop-a-Word Answer key: Loop all the words you encounter in the previous lesson. Make sure you can define the word you loop for the teacher will ask you about it. Bendian Shape Tapis T B E N D I A N P J K T Solibao Y A W Z B V U E F S L E Time S H A P E C T Q O P F X Bahag T A P I S O L I B A O T Color I G O N G L I R G C R U Line Space M A E Y C O N D H E M R Form E L S X W R E S N I M E Texture 2. Feedback (Optional) B. Establishing 1. Lesson Purpose Lesson Purpose The teacher will ask the pupils In Your Own Words to think of a word that comes Supply each letter of the word Faith and Belief to generate their own definition of first to their mind about faith the word itself. and belief and this word should start with the letter of the word F- ________________ B- ________________ Faith and Belief. A- ________________ E- ________________ I- ________________ L- ________________ T- ________________ I- ________________ H- ________________ E- ________________ F- ________________ 2. Unlocking Content Area Vocabulary Word Association Since words to be unlock are local/ indigenous terms, let the pupils think of a word that rhymes with the word to be unlock for easy retention. Example: INUSHUGAN (hinusgahan) 3  1. PINESBEKAN 2. SALAWASAO 3. KINITANGAN 4. KINIKIYAN 5. INUSHUNGAN 6. INUDIYAN 7. PINAJOSAN 8. INNABAYA C. Developing and SUB-TOPIC: Relating faiths and beliefs based on the representations of local Deepening creative works with basic concepts and principles of music, Understanding theater, dance and visual element 1. Explicitation The teacher may use their local creative works in their place or Show the picture and ask the pupils on how they will respond if they hear the gongs province. and solibao during Bendian Dance. Image source: https://nup.org.ph/Lifestyle/Cat/Guide/Article/21 Accordingly, people respond in different ways depending on the purpose of the celebration. 4  The resonating and deep sounds of the gangsa and solibao are inviting. They signal an invitation to move out of their houses and proceed to the event venue to witness the happenings. The Bendian is performed for many reasons, one of which is when a cañao ritual intended for a good harvest is done. So, there is a full week of sacrifices, including the killing of pigs and poultry, along with the playing of gongs, chanting, and dancing around to ask for enough rain to irrigate the fields and offering prayers to "Kabunyan" for a bountiful harvest. Some do cañao rituals to heal a prolonged illness and relieve natural calamities such as famine and drought. Ask pupils if they also have local practices or beliefs in their family. 2. Worked Example Symbols and Representations are used in the Bendian Dance When both arms are extended above the head, while the hands are flipped up and down, it symbolizes progress, bountiful harvest, etc. What dance step is this? Show the photo below. Image source: https://isnatako.blogspot.com/2012/08/how-to-dance-bendian.html 5  Costume during Bendian Dance These are the traditional attires of the Ibaloi women of Benguet. They are the kambal (blouse), divit (wrap-around skirt) and shengit (headdress). An Ibaloi woman's shirt/jacket and wrap-around skirt are both adorned with a recognizable stripe and plaid pattern as you can see in the photo below. Accordingly, if the quality of the cloth is good and the color of the designs is bright, it signifies the high status of the owner. Image source: https://thephilippinestoday.com/attire-of-an-ibaloy-woman/ Indigenous musical instruments played during Bendian dance Gongs and solibao are commonly heard during the Bendian dance, which is a customary dance performed by the Ibaloi community in Benguet. These musical instruments enhance the lively ambiance of the dance by providing a rhythmic background. In addition, the beating of gongs at a feast signifies nobility and thanksgiving for important gatherings such as weddings, family reunions, healing of the sick, or even during the final rites of a 6  burial. It also signifies recognition of an important person in the village. What are the cultural beliefs and customs of the Ibaloi people of Kabayan, Benguet? Think about what the circle dance, the musical instruments, the costumes, and the festival's general message say about the community's values and identity. 3. Lesson Activity ANSWER ME Divide the class into 8 groups. Assign a picture of a Bendian dance step to The teacher may call for a each group and let them determine at least one symbol and representation volunteer from each group to used in each step of the Bendian dance and even the designs in their present their work. costumes. Write your answers in the answer sheet. Distribute the pictures and let each group discuss for 5-10 minutes to do the task The teacher may post description of the dance at the back of the photo. If not, the teacher may write in a Manila paper or use PowerPoint Presentation of the following details. Image source: https://isnatako.blogspot.com/2012/08/how-to-dance-bendian.html 7  8 BENDIAN STEPS The right hand is extended upward while the left hand is extended downward. The fingers are 1. PINESBEKAN almost touching the ground. The body is tilted (1st picture from the left) slightly to the left. The left foot is lifted two inches above the ground and kicked in small motions to the side. It means to attack and take cover Both arms are extended overhead while the 2. SALAWASAO hands are flipped up and down. This symbolizes (2nd picture from the left) praise for the bountiful harvest received by the village Hands are steady on the waist. The gesture 3. KINITANGAN portrays caring for the crops to support the (3rd picture from the left) family the right arm is bent. It is moved forward and 4. KINIKIYAN back with the palms facing upward; the left arm (4th picture from the left) is extended forward. The action mimics planting both arms are raised slightly over the head, 5. INUSHUNGAN resembling the position of surrender. It means to (5th picture from the left) ask kabunyan to bless and protect their crops The dancers maintain their positions as in Inoshongan but this time the reverse direction. 6. INUDIYAN At another point the men face the women and (6th picture from the left) vice versa. It means turn and reverse to confuse the enemy both arms are clipped at the back of the waist 7. PINAJOSAN with hands facing upwards, the body is bent (7th picture from the left) forward The upper arm is clipped to the side while the 8. INNABAYA lower arm is extended forward with hands facing (8th picture from the left) upward. It symbolizes the receiving of blessings such as crops and livestock 8  D. Making 1. Learner’s Takeaways Generalizations Let the learners complete the following phrases: a. We learned that ___________________________________________ b. We realized that ___________________________________________ c. We wish to ________________________________________________ 2. Reflection on Learning Thumbs Up, Thumbs Down, Times Up! The teacher will read the following statements and ask the learners if they able to learn the following. If yes, they will make Thumbs Up and Thumbs Down if not. Do not forget to say Times Up after 5 seconds after reading. Describe faiths and beliefs; Differentiate the characteristics of faiths and beliefs; Interpret the symbols and representations used in the Bendian Dance; and Explain the relevance of faiths and beliefs in the context of Bendian dance through of symbols and representations. IV. EVALUATING LEARNING: FORMATIVE ASSESSMENT AND TEACHER’S REFLECTION NOTES TO TEACHERS A. Evaluating 1. Formative Assessment Learning Essay/ Narratives: Write your answers in the answer sheet. Give at least one difference between faith and belief. Name one faith and belief you want to share to your classmate. What are the symbols and representation used? 9 B. Teacher’s Note observations on The teacher may take note of Remarks any of the following Effective Practices Problems Encountered some observations related to areas: the effective practices and problems encountered after strategies explored utilizing the different strategies, materials used, learner engagement and other related materials used stuff. Teachers may also suggest learner engagement/ ways to improve the different interaction activities explored. Others C. Teacher’s Reflection guide or prompt can be on: Teacher’s reflection in every Reflection lesson conducted/ facilitated is ▪ principles behind the teaching essential and necessary to What principles and beliefs informed my lesson? improve practice. You may also Why did I teach the lesson the way I did? consider this as an input for Did I attain all my lesson objectives? the LAC/Collab sessions. How did I encourage my students to participate in the class discussions and activities? ▪ students What roles did my students play in my lesson? What did my students learn? How did they learn? Did my pupils actively participate in all the class activities that I prepared? Were the instructions in the class activities clear to the pupils? ▪ ways forward What could I have done differently? What can I explore in the next lesson? What challenges did I encounter in implementing the class activities? 10  4 Quarter 2 Quarter Quarter 11 Lesson Exemplar Lesson for Music and Arts 3 IMPLEMENTATION OF THE MATATAG K TO 10 CURRICULUM Lesson Exemplar for Music and Arts Grade 4 Quarter 2: Lesson 3 (Week 3-4) SY 2024-2025 This material is intended exclusively for the use of teachers participating in the pilot 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 Writer: Alma Vida G. Gallardo (Benguet State University) Validator: Wesly M. Tayag (San Vicente Pilot School For Philippine Craftsmen) 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].  LESSON EXEMPLAR MUSIC AND ARTS / QUARTER 2 / GRADE 4 I. CURRICULUM CONTENT, STANDARDS, AND LESSON COMPETENCIES A. Content The learners demonstrate understanding of local concepts, processes, and practices of Music and Arts as influenced Standards by the faiths and beliefs of the province. B. Performance The learners improvise creative works that depict the faiths and beliefs of the province, using local concepts, processes, Standards and practices in Music and Arts. C. Learning Learning Competency Competencies and Objectives Compare the musical, theatrical, dance, and visual arts representations of local concepts (i.e. use of range of dynamics, use of colors and symbols) in relevant creative works based on the faiths and beliefs of the province Learning Objectives: 1. Explain how music, theater, dance, and visual arts representations of local concepts, can be utilized to express themes or ideals associated with a person's faith or beliefs 2. Analyze how music, theater, dance, and visual art are used to depict the same local concepts related to faiths and beliefs in bendian dance and tayaw dance 3. Compare the bendian dance and the tayaw dance based on faiths and beliefs of the province C. Content Basic concepts and principles of sound, theater, dance, and visual elements Faiths and Beliefs in the Province on Music and Arts D. Integration SGD 11 Sustainable Cities and Communities: Protect Cultural and Natural Heritage Culture Identity Faiths and Beliefs 1 II. LEARNING RESOURCES Alphabet Numbers - JavaTPoint. (n.d.). www.javatpoint.com. https://www.javatpoint.com/alphabet-numbers Catimo, G. T. (2024, May 25). Benguet and Ibaloy culture. Igorot Cordillera BIMAAK Europe. https://www.icbe.eu/consultations/137-9th-icbe- consultation/857-benguet-and-ibaloy-culture Culture & Lifestyle. (2023, May 2). Good Morning, Baguio. https://goodmorningbaguio101.wordpress.com/miss-summer-capital-2018-2/ Empian, O., & Empian, O. (2023, December 6). ADIVAY GRAND CAÑAO. Baguio Midland Courier. https://www.baguiomidlandcourier.com.ph/adivay-grand-canao/ Etag TV. (2022, October 30). Dance of the Unseen😱 IGOROT RITUALS [Video]. YouTube. https://www.youtube.com/watch?v=_jemXzvw6S0 GetEmoji - Copy & Paste All Emojis From The Emoji Keyboard - No apps required. (n.d.). https://www.getemoji.com/ Hiraya TV. (2021, May 1). KUNG IKAW AY MASAYA (2021) WITH LYRICS | Animated Filipino Folk Song | Hiraya TV [Video]. YouTube. https://www.youtube.com/watch?v=d_IvS7qrrPE Official Pan Abatan Records TV. (2023, November 24). ADIVAY 2023 GRAND CAÑAO | TAYAO DANCE [Video]. YouTube. https://www.youtube.com/watch?v=7DhrCY8F_co III. TEACHING AND LEARNING PROCEDURE NOTES TO TEACHERS A. Activating Prior WEEK 3: DAY 1 Knowledge 1. Short Review Answer key: FACT or BLUFF Direction: Identify whether each of the following statements is fact or bluff. In a ¼ 1. sheet of paper, draw a smiling face emoji if the statement is a fact and a frowning face emoji if it is a bluff. 2. 1. The main instruments playing the Bendian dance are gangsa and solibaos. 2. The traditional attire of the Igorots of Benguet includes kambal, bahag, 3. eten, shenget, and ketep. 3. In Bendian dance only the elderly men and women can participate. 4. 4. Bendian is performed to celebrate a bountiful harvest only. 5. The traditional attire of the Igorot reflects their way of life, culture, 5. personalities, religious practices, and rituals. 2  2. Feedback (Optional) B. Establishing 1. Lesson Purpose Lesson Purpose Let the learners stand and sing an action song entitled “No Sik-a yan The teacher may choose a local Naragsak” the Kankanaey version of “Kung Ikaw Ay Masaya.” song practice/event in their province. To process the previous activity, ask the following questions: When was the last time you felt happy? How did you express your happiness during that moment? People express their feelings in varied ways. They laugh, clap their hands, stomp their feet, jump, or even sing. Aside from doing those actions, they celebrate. How do they celebrate? 3  o They go to the beach, some go to the park, dine out in fast food restaurants, etc. Here in the Cordillera, people feast… they butcher pigs, and chickens, cook them, and serve watwat. They do sing, play musical instruments, dance, and merrymaking with loved ones and the people in the community play musical instruments and dance. Do you also sing, and play musical instruments? Do you dance? Many of you are fond of following TikTok dances on social media. How about our traditional dances, do you know how to dance them? 2. Unlocking Content Vocabulary DECODE ME Direction: Decode the following numbers into letters or a word. Write your answers on your worksheet. Use the chart below as your guide. Note: Each number represents a letter. For example, 1=A, 2=B, 3=C, 4=D, etc. Answer key: Example: 4, 1, 14, 3, 5 = DANCE 1. TAYAW 1. 20, 1, 25, 1, 23 = ____________ 2. BENDIAN 2. 2, 5, 14, 5, 9, 1, 14 = ____________ 3. FAITH 3. 6, 1, 9, 20, 8 = ____________ 4. BELIEF 4. 2, 5, 12, 9, 5, 6 = ____________ 5. RITUAL 4  5. 18, 9, 20, 21, 1, 12 = ____________ 6. PRAYER 6. 16, 18, 1, 25, 5, 18 = ____________ C. Developing and 1. Explicitation Deepening Ask the learners if they already watched the celebration of Grand Cañao. Understanding As the highlights of the Adivay Festival were festivities started with a thanksgiving The teacher may use their local dance, during which the pigs that were caught during the "depap" were blessed and creative works in their place or presented to God. Following this, the animals were killed and consumed by province. hundreds of people who had congregated at the venue for the entire day. Performing these dances is incomplete without the sound of Indigenous instruments like the gangsa, solibao, bunkaka, and takik. 2.Worked Example The teacher will play a video clip of people performing Tayaw dance and let the learners observe the body movement of the dancers and the people playing the instruments, the movement of the dancers’ arms and the position of their palms, the instruments played, the audience, and the attires of the performers. Video may be accessed through https://www.youtube.com/watch?v=7DhrCY8F_co Let the learners take note of their observations on the following while watching body movement of the dancers and the instrumentalists movement of the arms and the position of their palm instruments played sounds heard other than the instruments audience or the people around The teacher will introduce what Tayaw dance is. Tayaw is a way to convey feasting, happiness, or festivity. It's never done during the wake period. In time with the gong (gangsa), the man and the woman perform separate dancing moves. The man throws blankets over his shoulders and dances. 5 The woman dances while wearing a sarong and a blanket. Their attire is colorful, and they are in a striped pattern. Show the picture below and let the learners describe the colors, designs, and patterns of the attire. Image source: https://www.baguiomidlandcourier.com.ph/adivay-grand-canao/ For the Benguet people, when performing Tayaw, which means fly among the Igorots, there are interpretations and meanings associated with the arm gestures. ▪ Being able to spread one's arms like an eagle signifies freedom and independence. ▪ Palms up on hands represent gratitude to Kabunyan. ▪ Lowering one's arms to show reverence for deceased ancestors is symbolic. ▪ Fingers pressed together represent unity and harmonious relationships. ▪ The male represents bravery and self-confidence during the tayaw, while the female represents humility and submission. ▪ The dancers occasionally gaze up into the sky and then down at the floor, signifying a request for fertility and an abundant crop. 6 There are many but there are 4 pairs of dancers and 5 instrumentalists, 2 gong players, 2 solibao players, and 1 takik player. They dance and move around the circle. There are special names for the pair of dancers: the Manedjaw or male dancer and the Meneshung or female dancer. They go around the circle several times, with their stretched arms outward, dancing with a hop-and-skip. The meneshung, with her two arms raised, like in a surrender can change her style by skipping and mincing steps. 7 As shown in the video while they were dancing tayaw, rice wine (tapey) was offered to them, and those playing the instruments. A prayer (Datok) in the form of a wish is said aloud to the dancers during the music playing as an offering to the spirits. The dancers began with smooth movements, connected to the earth with gentle force while the instruments were sharp in their attack with high energy, floating and lifting away with strong effort. Just like the Bendian dance, the tayaw dance is accompanied by the beautiful sound of indigenous instruments such as the gongs and solibao. The gongs (gangsa) are created through the aid of a hammer and anvil (a heavy iron block), heated up, then pounded and bent using a metal cylinder to create a particular sound, often depending on its placement in an ensemble. The solibao is played by striking the drumhead using the palm. The takik and bungkaka are optional. DAY 2 8 SUB-TOPIC: Utilization of Music, theater, dance, and visual arts representations in expressing themes or ideals associated with a person's faith or beliefs 3. Lesson Activity Activity 1: Sound and Movement Exploration Play audio of Bendian and Tayaw music, separately. Click these links. Bendian music: https://www.youtube.com/watch?v=c8lzyvLHo3M Tayaw music: https://www.youtube.com/watch?v=Mc149fJ4x2w Request learners to move freely to the music. Ask the learners about their experience and how did they come up with that movement. The beat and rhythmic sounds of the instruments made you enjoy the activity. More than anything else, percussion controls the mood in addition to vocals. Like the Bendian dance, the Tayaw dance is accompanied by the lovely sound and volume of native instruments like the solibao and gangsa. The music of gangsa is known for its rhythmic beats and melodic tones that can evoke a range of emotions in listeners. From feelings of joy and celebration to feelings of peace and spirituality, the sounds of gangsa have a powerful effect on those who experience them. This traditional music is deeply rooted in Filipino culture and history, making it a significant and emotional art form for many. Solibao music's rhythmic beats create a lively atmosphere, transporting listeners to joy and celebration, making it impossible to resist tapping your feet and moving to the music. The gangsa and solibao, when combined, can evoke a variety of emotions in listeners. The solibao's rhythmic pulses and gangsa's deep tones create a captivating sound that can transport listeners to various emotional states, connecting them to nature, cultural richness, and even promoting dance and celebration. WEEK 4: DAY 1 9 SUB-TOPIC: Analysis of music, theater, dance, and visual art related to faiths and beliefs in Bendian Dance and Tayaw dance Activity 2 Let the learners watch a video on “catching pigs” which is a game held every Adivay festival in Benguet. As they watch let them observe the following: the sound and movement of the pigs and the catchers: For additional information https://www.youtube.com/watch?v=h5OBlTWuVgQ regarding the belief system of the Benguet folks, the teacher The catching of pigs is one of the most awaited parts of the festival wherein may refer to these links representatives from the 13 municipalities of Benguet catch a pig so that they have https://ncca.gov.ph/about- something to butcher and eat during the event. ncca- 3/subcommissions/subcommi In Benguet, events such as the piercing scream of a pig, the distribution of watwat ssion-on-cultural- on Igorot feast, the sound of gongs, and the merrymaking of people, how they communities-and-traditional- respond usually communicate their religious beliefs, customs, and values. arts-sccta/northern-cultural- communities/benguet-belief- The Benguet people have the belief that there are unseen beings that come from systems/#:~:text=serve%20si both the skyworld and the underworld and that these beings possess the ability to milar%20purposes.- control humans. ,Belief%20System,by%20man %20to%20his%20advantage. These spirits are said to be deadly and manipulable by humans, even though they https://icbe.eu/2nd-icbe/70- are unseen. By doing this, people try to gain the spirits' favor and become the-beliefs-and-home-rituals- friends with them. of-benguet Through prayerful communication with the spirits, a ritualistic offering is made in an attempt to win their favor or placate the irate spirits. The spirits grant prosperity and good health to the celebrant in return for the gifts they have received, and the placated spirit will stop spreading illness. Tayaw dance combines music, theater, dance, and visuals to express spiritual bonds and respect for ancestors' beliefs. It uses ritualistic movements, symbolism, 10 and storytelling to convey cultural relevance, incorporating rhythmic drumming, chanting, and mythological creatures. DAY 2 Activity 3 Comparison of Bendian Dance and the Tayaw Dance Based on Faiths and Beliefs of the Province Instruction: Divide the class into 4 groups. Identify the symbols or patterns in the costumes and movements and discuss its symbolism Do this in the worksheet Each group will be given pictures that are assigned to them. Group 1: Bendian costumes Image source: https://thephilippinestoday.com/attire- Image source: of-an-ibaloy-woman/ https://www.lazada.com.ph/products/benguet -ibaloi-bahag-with-chaleco-kids- i3774496659.html Group 2: Bendian dance steps Image source: https://isnatako.blogspot.com/2012/08/how-to-dance-bendian.html 11 Group 3: Tayaw costumes Image source: https://easterweavinginc.com/product-page/sadong-tayaw/ Group 4: Tayaw dance steps Image source: Image source: https://goodmorningbaguio101.wordpress.com/miss-summer- https://selliliar.live/product_details/57319405.html capital-2018-2/ 12  Instruction: Identify the symbols or patterns in the costumes and movements assigned to you and discuss their symbolism. Do this on the worksheet. BENDIAN TAYAW It means “dance until An expression of feast, joy, or exhausted.” celebration It is a mass dance. A man and a woman dance different It is participated in by as parts to the rhythm of the gong. many as there are present in o The man dances with blankets the celebration. dropped over his shoulder. It is a fatigue dance o The woman dances the sarong the word Bendiyan or wrapped with the blanket. Binendiyan means “let us Movements of the arms while see who gets tired.” performing Tayaw for the Benguet people have meanings or interpretations. Tayaw means “fly” among the Igorots. D. Making 1. Learner’s Takeaways The teacher will facilitate the Generalizations Let the learners complete the following phrases: discussion, during which learners will express their a. We learned that ___________________________________________ observations and insights into b. We realized that ___________________________________________ the cultural importance of the c. We appreciated that ________________________________________________ dances. 2. Reflection on Learning a. Why is it important to experience cultural events such as the Bendian Dance Festival? b. What is your plan to learn more about the Bendian dance? 13  c. In your little ways, how can you help preserve the rich cultural traditions of Benguet? IV. EVALUATING LEARNING: FORMATIVE ASSESSMENT AND TEACHER’S REFLECTION NOTES TO TEACHERS A. Evaluating 1. Formative Assessment i. Learning Compare and Contrast Compare and contrast the Bendian and Tayaw dances based on their musical, theatrical, and visual elements and their cultural importance. Plot your answers in a Venn Diagram. Do this on your worksheet. Sample Rubrics Indicator Level 3 – Level 2- Level 1- 3 Points 2 Points 1 Point Content If 2 Sub- If 1 Sub- If no Sub- Complete indicators indicator is indicator is Correct are Present Present Present Overall If 2 Sub- If 1 Sub- If no Sub- On Time Submission indicators indicator is indicator is Clean/ Creative are Present Present Present 2. Homework Write a brief reflection on your understanding of the Bendian and Tayaw dances and how they relate to Filipino culture. B. Teacher’s Note observations on The teacher may take note of Remarks any of the following Effective Practices Problems Encountered some observations related to areas: the effective practices and 14  strategies explored problems encountered after utilizing the different strategies, materials used, learner materials used engagement and other related stuff. learner engagement/ Teachers may also suggest ways interaction to improve the different activities explored. others C. Teacher’s Reflection guide or prompt can be on: Teacher’s reflection in every Reflection lesson conducted/ facilitated is ▪ principles behind the teaching essential and necessary to What principles and beliefs informed my lesson? improve practice. You may also Why did I teach the lesson the way I did? consider this as an input for Did I attain all my lesson objectives? the LAC/Collab sessions. How did I encourage my students to participate in the class discussions and activities? ▪ students What roles did my students play in my lesson? What did my students learn? How did they learn? Did my pupils actively participate in all the class activities that I prepared? Were the instructions in the class activities clear to the pupils? ▪ ways forward What could I have done differently? What can I explore in the next lesson? What challenges did I encounter in implementing the class activities? 15  4 Quarter 2 Lesson Exemplar WeQuarter Lesson for Music and Arts 4 IMPLEMENTATION OF THE MATATAG K TO 10 CURRICULUM Lesson Exemplar for Music and Arts Grade 4 Quarter 2: Lesson 4 (Week 5-6) SY 2024-2025 This material is intended exclusively for the use of teachers participating 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 Writer: Alma Vida G. Gallardo (Benguet State University) Validator: Wesly M. Tayag (San Vicente Pilot School For Philippine Craftsmen) 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].  LESSON EXEMPLAR MUSIC AND ARTS / QUARTER 2 / GRADE 4 I. CURRICULUM CONTENT, STANDARDS, AND LESSON COMPETENCIES A. Content The learners demonstrate understanding of local concepts, processes, and practices of Music and Arts as influenced by Standards the faiths and beliefs of the province. B. Performance The learners improvise creative works that depict the faiths and beliefs of the province, using local concepts, processes, Standards and practices in Music and Arts. C. Learning Learning Competency Competencies and Objectives Experimenting with relevant, appropriate, and available local processes and musical/improvised instruments, theatrical, dance, and art materials in producing/ performing creative works that reveal their faiths and beliefs Objectives: 1. Recognize the local artistic processes and materials utilized in Benguet dance, theater, music, and visual arts. 2. Explain the importance of local artistic symbols related to faith or beliefs. 3. Select a combination of local artistic processes and materials (such as musical instruments, theatrical elements, dance motions, or art supplies) that are relevant, appropriate, and available to show the individual’s faith or belief. C. Content Local artistic processes and materials utilized in Benguet dance, theater, music, and visual arts Local artistic symbols related to faith or beliefs. Cañao D. Integration Theme: “Influences of Faiths and Beliefs in the Province on Music and Arts” 1 II. LEARNING RESOURCES Admin. (2024, April 22). Embracing Cultural Identity in Children Through Food. Our Little Roses Foreign Mission Society. https://www.ourlittleroses.org/blog/embracing-cultural-identity-in-children-through-food/ Agshanonline. (2016, May 20). Cañao: The Igorot Way of Strengthening Community Spirit and Unity. Agshan Online. https://agshan.wordpress.com/2016/05/20/canao-the-igorot-way-of-strengthening-community-spirit-and-unity-3/ Frenesi. (2022, September 2). My Cañao (Kanyaw) Experience In Atok, Benguet | Frenesi [Video]. YouTube. https://www.youtube.com/watch?v=TnYEkKvrFtg Jaronization15. (2021, November 8). Kumain Nang Tama - Awiting Pambata Tungkol sa Masustansya at Di Masustansyang Pagkain [Video]. YouTube. https://www.youtube.com/watch?v=VEuuJgipbcw Oblas, S. (2024b, June 12). The Beliefs and Home Rituals of Benguet. https://icbe.eu/2nd-icbe/70-the-beliefs-and-home-rituals-of-benguet Staff, I. (2024, June 7). The Igorot People of the Cordillera. Igorotage. https://www.igorotage.com/blog/igorot-people#kabunyan-the-supreme- being-and Unknown. (n.d.-b). How To Dance Bendian. https://isnatako.blogspot.com/2012/08/how-to-dance-bendian.html ‘Watwat”. (2014, February 8). Igo Point. https://igopoint.wordpress.com/food-2/watwat/ Widy. (2023, August 7). Tips For Tableaux Drama Activities In Elementary - Stageworthy By Widy. Stageworthy by Widy. https://stageworthybywidy.com/2022/03/06/tableaux-drama-act III. TEACHING AND LEARNING PROCEDURE NOTES TO TEACHERS A. Activating Prior WEEK 5: DAY 1 Knowledge 1. Short Review Answer KEY: FACT OR BLUFF Directions: Identify whether each of the following statements is FACT or BLUFF. 1. Stand with both hands Stand with both hands raised straight if the statement is a fact and stand with both raised straight hands on your cheeks if the statement is a bluff. 2. Stand with both hands on their cheeks 1. Bendian is a traditional circle dance of the Igorot of Benguet which symbolizes 3. Stand with both hands the unity of the community. raised straight 2  2. Bendian dance is performed by a pair of dancers: the manedjaw, or male 4. Stand with both hands on dancer, and the meneshung, or the female dancer. their cheeks 3. Lowering one’s arms when dancing Tayaw symbolizes reverence for deceased 5. Stand with both hands ancestors. raised straight 4. The main instruments in playing the bendian and tayaw dances are gangsa and takik. 5. Gongs and the appearance of smoke rising from the mountains signal guests in Benguet that weddings, Thanksgiving celebrations, and other festivities are about to take place. 2. Feedback (Optional) B. Establishing 1. Lesson Purpose Lesson Purpose The lesson will focus on local artistic processes and materials utilized in performing dances that reveal the faiths and beliefs of the Benguet people. Specifically, the discussion will center on the dancing and playing of Indigenous musical instruments as well as the wearing of traditional attires in dancing Bendian and Tayaw that disclose their faith and belief. 2. Unlocking Content Vocabulary ANSWER ME Answer key: Find the following words in the puzzle: cañao, tapuey, watwat, Kabunian. Words can go in any direction. Words can share letters as they cross over each other. Go over each word and definition and tell the learners that they will encounter them in the discussion. 3  o Cañao or Kanyaw is a special feast of the Igorot that entails community gathering for social and spiritual purposes, where chickens, pigs, and/or carabaos are butchered as a sacrifice and feasted on. o Tapuey is the only rice wine known to exist in the Philippines and the only known Igorot rice wine. o Watwat is a slice or slices of boiled meat that you receive when you visit a neighbor or relative’s canao o Kabunyan is the supreme being regarded as the ultimate creator of and source of life, overseeing the Anito spirits. o Mambunong is a native priest believed to be a chosen one who prays to the spirits and to God (Kabunian) for blessings, peace, and luck to the host family C. Developing and DAY 2 Deepening Understanding 1. Explicitation The teacher may use their local creative works/cultural WATCH ME traditions in their place or o Let the learners watch the Bendian dance in Kabayan Bindiyan festival and province. the cañao experience of a vlogger in Atok, Benguet. Refer to the links below. Before watching the video, the teacher will instruct the pupils to observe the following. Materials in used Participation of the local Attire and Costume Musical Instrument Used Rituals, practices you observed Dance Steps Being Igorot. (2024, May 3). Kabayan Bendian dance, BINDIYAN FESTIVAL 2024 [Video]. YouTube. https://www.youtube.com/watch?v=DAClSM_yZFw Link to the song “Kumain Nang Frenesi. (2022, September 2). My Cañao (Kanyaw) experience in AtOk, Tama" Benguet | Frenesi [Video]. YouTube. https://www.youtube.com/wat https://www.youtube.com/watch?v=TnYEkKvrFtg ch?v=VEuuJgipbcw 4 WEEK 6: DAY 1 It is advised that the teacher 2. Worked Sample writes the lyrics of the song in a Manila paper Lead the class in singing “Kumain Nang Tama” to the tune of Leron, Leron Sinta. Where there is a celebration, there is feasting. Show pictures of common foods during cañao. Image source: Image source: https://www.facebook.com/BeingIgorot/photos/a.25727 https://benguetsite.wordpress.com/2017/07/31/lets- 5588145806/1182088432331179/?_rdr drink-to-that-the-tapuey-rice-wine/ 5  What do you call those foods in the pictures? Have you tried eating such? If so, can you describe the taste? If not, would you like to try someday? Food serves as much more than simply physical sustenance. Food is life itself, home, love, vitality, hope, and redemption. Any facet of a person's or culture's past or identity can be represented through food as a symbol. The Benguet people have the belief that there are invisible entities originating from the underworld and Skyworld. These invisible entities, known as spirits, are believed to possess influence over humankind. It is also thought that man can control these invisible entities, sometimes known as spirits, for his own benefit. With this concept, the people perform ritualistic prayers and material offerings in an attempt to gain the spirits' favor. During cañao, the "mambunong," a native priest who is thought to be a chosen one, prays to God (Kabunian) and the spirits to provide the host family luck, blessings, and tranquility. The teacher may refer to this He then asks the spirits of the "manbunongs" who have died away—actually his link for the Tips for Tableau predecessors—to assist him in completing the assignment. Afterward, he calls the spirits of Drama Activities in Elementary the deceased in the community and family to share in the meal that is being served. There is https://stageworthybywidy.co a minute of quiet before the "watwat" is distributed since the called souls should eat first. m/2022/03/06/tableaux- And then the playing of indigenous instruments, dancing and merrymaking continue while drama-activities/ the dancers and the people drink tapuey. Accordingly, an Igorot who is considerate does not use up all of his or her "watwat" at once. One must carry home his "watwat," which also represents bringing good fortune home, as that is a portion of wealth and luck that is being shared and has been blessed by countless individuals and spirits. DAY 2 3. Lesson Activity PORTRAY A SCENE 6  Divide the class into 3 groups. Each group will form a circle in layers and portray a scene o 1st group (3rd/outermost layer; largest group; 50% of the class population; they represent the community, and they pretend to be in a queue for the watwat and tapuey) o 2nd group (2nd layer; 10-15 learners; they are the dancers or host family and players of gongs; they move around the circle in clockwise direction; solibao players are seated in one corner) o 3rd group (1st layer; 4 learners; they pretend to be holding or butchering a pig) o Assign 1 learner to represent the role of a “mambunong” saying a prayer to the Kabunyan. Instructions: o Action (do the scene assigned to your group)-2-3-4-5- “Freeze! ”. o Take note that when you hear the word “Freeze!” do the following: ▪ remain still or frozen ▪ remain silent ▪ pose with energy and expression ▪ stay focused ▪ pose at different levels ▪ choose poses that are relevant and interesting o Call for 2 volunteers to view and comment on the tableau o Call “Relax” D. Making 1. Learner’s Takeaways Generalizations The teacher will facilitate the ANSWER ME discussion in which students Complete the following sentences: express their insights about the topic. o I learned that ____________________________________________________. o I realized that ____________________________________________________. o I appreciated that ________________________________________________. 7  2. Reflection on Learning One-Word-Closure Ask the learners to describe their learning session/ journey based on the first letter of their name. Example: I am Elaine, my name starts with letter E. “ENJOYABLE” IV. EVALUATING LEARNING: FORMATIVE ASSESSMENT AND TEACHER’S REFLECTION NOTES TO TEACHERS A. Evaluating 1. Formative Assessment i. Learning Observation: The teacher will observe the class's overall participation during the discussion and the individual engagement of the members during the activities. Recording Method The teacher may utilize a checklist to monitor the participation of the learners. 2. Homework (Optional) Write a brief reflection on your understanding of the rituals conducted in Cañao celebration how they relate to one’s faith or beliefs. B. Teacher’s Note observations on The teacher may take note of Remarks any of the following Effective Practices Problems Encountered some observations related to areas: the effective practices and problems encountered after strategies explored utilizing the different strategies, materials used, learner engagement and other related materials used stuff. 8  learner engagement/ interaction Teachers may also suggest ways to improve the different others activities explored. C. Teacher’s Reflection guide or prompt can be on: Teacher’s reflection in every Reflection lesson conducted/ facilitated is ▪ principles behind the teaching essential and necessary to What principles and beliefs informed my lesson? improve practice. You may also Why did I teach the lesson the way I did? consider this as an input for Did I attain all my lesson objectives? the LAC/Collab sessions. How did I encourage my students to participate in the class discussions and activities? ▪ students What roles did my students play in my lesson? What did my students learn? How did they learn? Did my pupils actively participate in all the class activities that I prepared? Were the instructions in the class activities clear to the pupils? ▪ ways forward What could I have done differently? What can I explore in the next lesson? What challenges did I encounter in implementing the class activities? 9  4 Quarter 21 Quarter Lesson Exemplar Quarter 1 Lesson for Music and Arts 5 IMPLEMENTATION OF THE MATATAG K TO 10 CURRICULUM Lesson Exemplar for Music and Arts Grade 4 Quarter 2: Lesson 4 (Week 7-8) SY 2024-2025 This material is intended exclusively for the use of teachers participating 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 Writer: Grizel Anne Y. Ocampo (Prado Siongco High School) Validator: Wesly M. Tayag (San Vicente Pilot School For Philippine Craftsmen) Management Team Philippine Normal University Research Institute for Teacher Quality