MUSIC & ARTS 8 – QUARTER 4

PEKING OPERA OF CHINA

China is known for their traditional theater art

form, the Peking Opera or Beijing Opera
which combines music, vocal performance,
pantomime, dance, and acrobatics. It started
in the late 18th century and became fully
developed and recognized by the mid-19th
century. During the Qing Dynasty court it
became extremely popular and came to be
regarded as one of the cultural treasures of
China.

Peking Opera Training:

Pupils were often handpicked at a young age by a teacher and trained for seven years on
contract from the child's parents. After 1911, training took place in more formally organized
schools. Students at these schools rose as early as five o'clock in the morning for exercises.
Daytime was spent learning the skills of acting and combat, and senior students performed in
outside theaters in the evening.

Roles and Characters:

1. Sheng-is the main male role in Peking opera
a. Xiaosheng actors are often involved
with beautiful women by virtue of the
handsome and young image they project.

b. Wusheng is a martial character

for roles involving combat.
They are highly trained in acrobatics,
and have a natural voice when singing.

c. Laosheng is a
dignified older role, these
characters have a gentle
and cultivated disposition,
and wear sensible costumes.

2. Dan - refers to any female role in Peking opera

a. Laodan- old woman b. Wudan- martial woman

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c. Daomadan are young d. Qingyi are virtuous e. Huadan are vivacious
female warriors and elite women and unmarried women

3. Jing is a painted face male role who plays either primary or

secondary roles. This type of role entails a forceful character, which
means that a Jing actor must have a strong voice and be able to
exaggerate gestures. The red color denotes loyalty and goodness,
white denotes evil, and black denotes integrity.

4. Chou is a male clown role. The Chou usually plays secondary roles
whose name also means "ugly". It reflects the traditional belief that the
clown's combination of ugliness and laughter could drive away evil
spirits.

Visual Performance Elements:

Peking-opera performers utilize four main skills.
1) Song
2) Speech
3) Dance-acting - This includes pure dance, pantomime, and all other types of dance.
4) Combat - includes both acrobatics and fighting with all manner of weaponry.

You have learned from the previous quarters about the colors the Chinese Peking Opera are
using in their facial paints, masks and costumes. This is just a review.
The meaning of colors in Peking Opera Masks/Make-ups
! Red - devotion, courage, bravery, uprightness and loyalty.
! Black - roughness and fierceness
! Yellow - fierceness, ambition and cool-headedness
! Purple - uprightness, sophistication and cool-headedness
! Reddish purple - just and noble character
! Blue - loyalty, fierceness and sharpness
! White - dangerousness, suspiciousness and craftiness. Commonly seen on the stage is
the white face for the powerful villain
! Green - impulsive and violent and stubbornness

Xiaohualian (the petty painted face) is a small patch of chalk on and around the
nose. Clowns of traditional drama who wears this special make-up show a mean and
secretive character.

Aesthetic Aims and Principles of Movement:

! The highest aim of performers in Peking Opera is to put beauty into every motion.
! The art form, gestures, settings, music, and character types are determined by long
held conventions

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 ! Conventions of movement -Walking in a large circle always symbolizes traveling a long
distance - Character straightening his or her costume and headdress symbolizes that
an important character is about to speak -Pantomimic opening and closing of doors and
mounting and descending of stairs

Costume: Xingtou
! popularly known as Xifu in Chinese
! origins of Peking Opera costumes can be traced back to the mid-14th century
! enable the audience to distinguish a character's sex and status at first glance if noble or
humble, civilian or military, officials or private citizens
! give expression to sharp distinctions between good and evil or loyal and wicked
characters
! oblong wings (chizi) attached to a gauze hat indicate a loyal official.
! In contrast, a corrupt official is made to wear a gauze hat with rhomboidal wing

Props:
! utilizes very few props
! will almost always have a table and at least one chair, which can be turned through
convention into such diverse objects as a city wall, a mountain, or a bed
! a whip is used to indicate a horse and an oar symbolizes a boat

Musicians:
! are visible to the audience on the front part of the stage

Viewers:
! always seated south of the stage, therefore, north is the most important direction

Performers:
! immediately move to center north upon entering the stage. All characters enter from
the east and exit from the west

ASSESSMENT:
1. The Peking Opera costume is called___________.
a. Balinese costumes b. Kimono and obi c. Saya and barong tagalog d. Xingtou
2. The performance element that includes both acrobatics and fighting with all manner of
weaponry in Peking Opera is ______.
a. Combat b. Dance-Acting c. Speech d. Song
3. ______ is the main male role in Peking opera.
a. Dan b. Chou c. Jing d. Sheng
4. Red color on make-ups in Peking Opera means__________.
a. Suspicious and craftiness c. courage, bravery and uprightness
b. Roughness and fierceness d. fierceness, ambition and cool- headedness
5. There are always props of these on stage in Peking Opera.
a. Bed and pillows c. Drums and cymbals
b. Chairs and tables d. Wood blocks and sticks

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 KABUKI OF JAPAN

Kabuki is a form of traditional Japanese drama with

highly stylized song, mime, and dance, now performed
only by male actors.

Japanese, originally as a verb meaning “act dissolutely,’

later interpreted as: ka – song,
bu – dance and ki – art/skill.

Kabuki theater is known for the stylization of its drama

and for the elaborate make-up worn by some of its performers. Kabuki is therefore sometimes
translated as "the art of singing and dancing". Since the word kabuki is believed to derive from
the verb kabuku, meaning "to lean" or "to be out of the ordinary", kabuki can be "bizarre"
theater. The expression kabukimono referred originally to those who were bizarrely dressed
and paraded on a street.

The Kabuki stage features:

! Hanamichi – a flower path, a walkway
which extends into the audience and via which
dramatic entrances and exits are made; Okuni
also perform on a hanamichi stage with her
entourage.
! Kogakudo -kabuki theaters that have
stages both in front of the audience and along
the sides help create a bond between the actors
and viewers
! Mawaro butal -the interior of the theater
contains a revolving stage
! Suppon -a platform that rises from below
the stage
! Hanamicho – a walkway that cuts through
the audience seating area to connect the stage
with the back of the theater

! Magicians and supernatural beings often make their entrances from trap doors in the
hanamichi
! Some stages have 17 trapdoors.

The three main categories of the kabuki play are:

! jidai-mo no- historical, or pre-Sengoku period stories
! sewa-mono- domestic, or post-Sengoku stories and
! shosagoto - dance pieces

" Jidaimono, or history plays, were set within the context of major events in Japanese
history. Strict censorship laws during the Edo period prohibited the representation of
contemporary events and particularly prohibited criticising the shogunate or casting it in
a bad light, although enforcement varied greatly over the years.
" Sewamono focused primarily upon commoners (townspeople and peasants). It is
generally related to themes of family drama and romance.
Elements of kabuki:
! Mie - in which the actor holds a picturesque pose to establish his character and his
house name yagō, is sometimes heard in a loud shout (kakegoe) from expert audience
member, serving both to express and enhance the audience's appreciation of the
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 actor's achievement. An even greater compliment can be paid by shouting the name of
the actor's father. Keshō

Actors are separated into two main categories:

! Onna-gata - female roles and;
! Aragoto - male roles.

Most main characters in Kabuki plays are

aragoto, because of its super-stylized masculine,
heroic style.

Onna-gata Role(left) Aragoto Role (right)

Kabuki "Hero" character

Make-up is also one of the most iconic parts of Kabuki. Actors apply their own make-up
by painting their faces and necks white, then adding stylized lines in red, black, or blue. The
colors and lines that are used tell you what kind of character is being performed.
! Red and blue are usually aragoto roles, onna-gata playing young women have very little
paint

These are examples of famous Kabuki characters. A character's make-up,

like everything else, is decided by tradition.

Kabuki make-up, provides an element of style easily

recognizable even by those unfamiliar with the art form. Rice powder
is used to create the white oshiroi base for the characteristic stage
make-up, and kumadori enhances or exaggerates facial lines to
produce dramatic animal or supernatural character.

! The color of the kumadori is an expression of the character's

nature:
! red lines are used to indicate passion, heroism, righteousness,
and other positive traits;
! pink, for youthful joy;
! light blue, for an even temper;
! pale green, for peacefulness
! blue or black, for villainy, jealousy, and other negative traits;
! green, for the supernatural; and
! purple, for nobility

Kabuki is performed in full-day programs. Audiences escape from the day-to-day world,
devoting a full day to entertainment. Though some individual plays, particularly the historical
jidaimono, might last an entire day, most were shorter and sequenced with other plays in order
to produce a full-day program.
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The play occupies five acts. The first corresponds to
! jo, an auspicious and slow opening which introduces the audience to the
characters and the plot
! ha, speeding events up, culminating almost always in a great moment of drama or
! tragedy in the third act and possibly a battle in the second and/or fourth acts.
! kyu, is almost always short, providing a quick and satisfying conclusion.

Kabuki props are often quite interesting. Flowing water is usually represented by
fluttering roles of linen; and creatures like insects and foxes. Props often have symbolic
meanings. Fans are used to symbolize wind, a sword, a tobacco pipe, waves or food.
Costumes are swung from sticks or manipulated by helpers who come on stage dressed
in black hooded robes so they are invisible to the audience. The female characters generally
wear an elaborate kimono and obi. Pleated hakuma trousers are worn by characters of
sexes. Actors playing both sexes often have a supported midriff because a straight and
curveless figure are regarded the essence of beauty.

Costume changing is considered as an art. There are special teams that take care of
complete and partial costume changes and are done as part of the performances.
Wigs are important accessories, with each costume having its own type. Specialized
craftsmen shape the wigs to the head. Wigs are made of human hair or horse hair or, bear fur
or yak-tail hair imported from Tibet.

ASSESSMENT
1. A platform that raises the performers from below the stage in Japan’s Kabuki.
a. Hanamichi b. Kogakudo c. Mawaro butal d. Suppon
2. It is a Japanese terminology which means male roles.
a. Aragoto b. Suppon c. Onna-gata d.Hanamichi
3. It is the Japanese traditional drama.
a. Kabuki b. Peking opera c.Nang d.WayangKulit
4. In Kabuki theater art, fan as props symbolizes ______.
a. Bird b. insects c.rain d.wind
5. The female characters in Kabuki wear an elaborate
a. Balinese costumes b. Kimono and obi c. Saya and Barong Tagalog d.Xingtou

WAYANG KULIT OF INDONESIA

Wayang refer to kinds of puppet

theaters, sometimes the puppet itself is
referred to as wayang. Performances of
shadow puppet theaters are
accompanied by a Gamelan orchestra
in Java, and by Gender Wayang in Bali.
Wayang Kulit, or shadow
puppets, are without a doubt the best
known of the Indonesian Wayang. Kulit
means skin, and refers to the leather construction of the puppets that are carefully shaped with
very fine tools and supported with carefully shaped buffalo horn handles and control rods.
It was given recognition as a Masterpiece of Oral and Intangible Heritage of Humanity
on November 7, 2003 by UNESCO and required Indonesians to preserve their heritage.

The stories are usually drawn from the Hindu epics:

! Ramayana
! Mahabharata
! Serat Menak - a story about the heroism of Amir Hamza
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Wayang Kulit Performance consists of shadows cast on a cotton screen and an oil lamp.
! In Java, most often used as a light source is a halogen electric light
! Wayang Sandosa has employed spotlights, colored lights and other innovation

The Handwork in Making a Wayang Kulit Figure:

1. They start from master models (typically on paper) which are traced out onto skin or
parchment, providing the figures with an outline and with indications of any holes that
will need to be cut (such as for the mouth or eyes).
2. The figures are then smoothed, usually with a glass bottle, and primed. The structure is
inspected and eventually the details are worked through. A further smoothing follows
before individual painting, which is undertaken by yet another craftsman.
3. Finally, the movable parts (upper arms, lower arms with hands, and the associated
sticks for manipulation) are mounted on the body, which has a central staff by which it is
held.

Elements of Performance:
The fundamental components of a performance include:
! the puppeteer, dhalang(Java) / dalang(Bali)
! a hammer used by the dhalang to knock on the puppet box, cempala
! metal plates that the dhalang hits with his foot, kepyak
! a traditional Indonesian orchestra, gamelan
! shadow puppets, wayang kulit
! a light source, blencong
! female singers and a male chorus, pesindhen and penggerong
! a screen frame and screen, gawang and kelir; the main focus of the performance
! banana logs, gedebog; the pointed sticks of the wayang base handle pierce the peeled
trunk of a banana tree and the spongy substance holds the puppets in place
! a puppet box, kothak

ASSESSMENT
1. It is the shadow puppet of Indonesia.
a. Kabuki b. Nang c.Peking Opera d.WayangKulit
2. The Indonesian shadow puppet theater shows are based on the stories of _____________.
a. Biag Ni Lam-ang c. Ramayana and Mahabharata
b. Nagarakretagama d.TheTaleoftheHeike
3. The puppeteer of Java, Indonesia is called ____________.
a. Blencong b. Dalang c.Gawang d.Kothak
4. The performances of shadow puppet theaters are accompanied by the music of _______.
a. Gamelan b. Guitar c.Piano d.Rondalla
5. Indonesian puppet theaters are performed with shadows that are cast on a __________.
a. cotton screen and an oil lamp c. Tarpaulin and spotlight
b. Japanese paper and lampshade d. Transparent plastic and flashlight

NANG SHADOW PUPPETS OF THAILAND

Shadow puppet (Thai: Nang) was one form of public

entertainment in the south of Thailand. It is still very popular
at village festivals, temple fairs, and celebrations such as
marriages. Its characters are made from intricately cut out
and articulated shapes of leather. They are delicately colored,
but this does not show during a performance as the puppets
appear only in shadow against a white sheet, with light
shining through from behind. They are manipulated with rods

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that control movements of the arms and legs.
The puppets are colorful but really they do not have to be because you only see the black
shadows. In the second picture you can see the people holding the puppets. Normally you can
see only the shadows like in the third picture.

Performances:
! have a religious theme or have an episode from the Ramayana epic which contains
dozens of individual stories. They may also be specially written to include up-to-the
minute reflections, songs, and poems about local events and matters of current interest
in the district or country.
! there are hundreds of different characters each with a distinctive shadow, but the show
will almost always include a clown, funny old man, scatter - brained old woman or rather
stupid yokel, who are all great favorites with the fun - loving audiences.
! Mr. Suchart Sapsin, he is a man of many talents. He is not only an expert in the craft of
making the puppets but he is also an award - winning writer and poet. He is narrator,
speaking or singing all the parts using different voices, and he is a superb mimic.

Nang recites tales of the gods and contemporary people through stories of love, current
events, and tradition. The shadow puppets used in the Nang represent the
! norms and mores of Thai society. Themes commonly seen in Nang performances
include
! family conflict,
! fantastic adventures of a wandering hero,
! star-crossed lovers and
! romantic tales, hermits teaching magic to their apprentices, and abandoned children
seeking lost loved ones.

The Nang attempts to relay to the audience the importance of Thai values and ideologies in
a changing world, however, the mystical and historical events remain fundamental in all
performances. The association with karma (all actions have equal reactions) and the
underlying message of rewards and punishments act as allegories for Buddhist morality and
philosophy. And it is usually performed during the country's dry season (February to August).

Sida, Rama's
wife-Nang Talung The Comedians- Nang Yai

Two Types of the Nang:

1. Nang Talung is played with leather puppets, each representing a separate character,
about 50 centimeters high. They usually possess a movable, jointed arm controlled by a
string.
2. Nang Yai is normally made of cowhide and rattan, a large, decorated scenes and
characters measuring around two meters high and a meter wide. They do not have
jointed arms, but the themes and styles remain the same.

The Nang's Theater Troupe

These:
! Usually consists of five to ten puppeteers and musicians.
! Nai Nang - the teachers and presenters of the Nang Talung
! There are over 300 Nai Nang in the southern regions of Thailand.

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 ! They perform using the puppets on a backlighted white screen, and hide themselves in
small wood and bamboo shelters.
! The performances run from dusk to dawn and incorporate narration, songs, prose, and
the performer's improvised dialogue.
! The rhythm and fluidity of each performance is essential in maintaining audience
interest, thus the Nai Nang must vary their techniques and story lines.

Characters such as:

! gods and goddesses,
! kings and queens,
! magical figures, and
! comedians.

It is the Nai Nang's responsibility to act as an intermediary between the community and the
gods, thus the Nang and its producers are highly respected and greatly entwined into
Thailand's cultural fibers.

ASSESSMENT
1. The shadow puppets in Thailand are_________.
a. Leather Monkey Show b. Nang c. Togalu Gombeyaata d.WayangKulit
2. The puppet given is an example of:
a. NangTalung
b. NangYai
c.WayangGolek
d.WayangKulit

3. ___________is played with leather puppets, each representing a separate character and
usually possess a movable, jointed arm controlled by a string.
a. Nang Talung b. Nang Yai c. Wayang Golek d. Wayang Kulit
4. The characters in Nang are the following, except___________.
a. gods and goddesses b. kings and queens c. magical figures d. current events
5. It is the teacher and presenter of Nang Talung.
a. Sida b. Ramayana c. Nang Yai d. Nai Nang

LEARNING TASK 2. BASIC ELEMENTS OF THEATER ART FORMS:

The different important aspects of a theater show are written in the table below. Use
these as your guide for comparing the different theater art forms of Asia.

Performers/ Visual
Theater Arts Music Stage/ Props Costumes
Puppets Effects
Peking
Opera- China

Kabuki-
Japan

Wayang Kulit-
Indonesia

Nang -
Thailand

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 ASIAN FESTIVALS
CHINESE FESTIVAL: CHINESE NEW YEAR

Chinese New Year is known as:

! "Spring Festival," the literal translation of the Chinese name Chūnjié, since the spring
season in Chinese calendar starts with lichun, the first solar term in a Chinese calendar
year. It marks the end of the winter season.
! The festival begins on the first day of the first month in the traditional Chinese calendar
and ends with the Lantern Festival which is on the 15th day.
! Chinese New Year's Eve, a day where Chinese families gather for their annual reunion
dinner, is known as Chúxī or "Eve of the Passing Year." Because the Chinese calendar
is lunar-solar, the Chinese New Year is often referred to as the "Lunar New Year".

China’s customs and traditions concerning the celebration of the Chinese New Year:
! People will pour out their money to buy presents, decoration, material, food, and
clothing.
! Thoroughly cleanse the house, in order to sweep away any ill-fortune and to make way
for good incoming luck.
! Windows and doors will be decorated with red color paper-cuts and couplets with
popular themes of good fortune or happiness, wealth, and longevity.
! On the Eve of Chinese New Year, supper is a feast with families. Food will include such
items as pigs, ducks, chicken, and sweet delicacies.
! The family will end the night with firecrackers.
! Children greet their parents early in the morning by wishing them a healthy and happy
new year, and receive money in red paper envelopes. The Chinese New Year tradition is
to reconcile, forget all hatred, and sincerely wish peace and happiness for everyone.

Dragon dance is a form of traditional dance and performance in Chinese culture. Like the
Lion Dance it is most often seen in festive celebrations. Many Chinese people often use the
term "Descendants of the Dragon", (lóng de chuán rén) as a
sign of ethnic identity. The Emperor of China usually used the
dragon as a symbol of his imperial power and strength.

The dragon dance is a highlight of Chinese New Year

celebrations held worldwide in Chinatowns around the world.
The dragon symbolizes power, strength, and good luck.
The dance team mimics the supposed
movements of this river spirit in a flowing,
rise and fall manner. The movements in
a performance traditionally symbolize historical roles of dragons
demonstrating power and dignity.

Dragons are believed to bring good luck to people, which is

reflected in their qualities that include great power, dignity, fertility,
wisdom, and prosperity. The appearance of a dragon is both frightening
and bold but it has a benevolent disposition.

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 The main objective of wearing Chinese costumes is to maintain the sanctity of their
tradition. They get haircuts and makeovers so that they are fully ready to welcome the New
Year in a brand new style.
Traditionally women wear the cheongsams and the qipaos while the men wear the mandarin
collared shirts with the Chinese dragon symbols, and traditional kung fu suits and coats.
Children wear dragon costumes and the kung fu suits too.

Props:
! Dragon and Lion Puppets
! Chinese Fans
! Chinese Lanterns
! Chinese Umbrellas
! Tambourines
! Firecrackers

ASSESSMENT
1. Traditional Chinese dance that is usually seen during the Chinese New Year Celebration.
This dance is based on a mythical creature believed by the Chinese people.
a. Dragon dance b. Lion dance c. Snake dance d. Bali dance
2. The dragon dance team__ the movements of the river spirit in a flowing, rise and fall manner
a. Pantomime b. Tableau c. Mimics d. Sings
3. The Chinese people believe that performing the Lion and Dragon dances ___.
a. makes the country more wealthy c. tells the people to reconcile
b. drives the bad luck and evil spirits away d. makes the people more healthy
4. Men and children usually wear _________ every Chinese New year or Spring festival.
a. Balinese Costumes b. Kimono c. Kung Fu Suits d. Saya and Barong Tagalog
5. Which of the following props cannot be seen in Spring festival?
a. Chinese Fans b. Chinese Lanterns c. Dragon Puppets d. Wayang Kulit Puppets

TAIKO DRUM FESTIVAL OF JAPAN

A good example of a professional taiko drumming troupe is the Kodo. They are based
in Sado Island, Japan, and they had a big role in popularizing taiko drumming, both in Japan
and abroad. They regularly tour Japan, Europe, and the United States.

Their name, "Kodo" conveys two meanings:

1. "heartbeat" the primal source of all rhythm and, read in a different way,
2. "children” of the drum," a reflection of Kodo's desire to play their drums simply, with the
heart of a child.

The main focus of the performance:

! Uchite is the Taiko drummer
! Different drums
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 ! other traditional Japanese musical instruments such as fue and shamisen make an
appearance on stage
! traditional dance and vocal performance are part of the performance
! include pieces based on the traditional rhythms of regional Japan, pieces composed
for Kodo by contemporary songwriters, and pieces written by Kodo members
themselves
! The Kodo's performances normally last for about one hour and forty minutes.

History:
! Drums were used in ancient times to signify
the boundaries of a village.
! Peasant events such as the rice harvests or
dance festivals were celebrated with
drums.
! Drums were used to pray for rain and other
religious ceremonies.
! Drums lead warriors into battles in order to
scare off the enemy.
# Odaiko - Big Drum
# Jozuke - Medium Drum
# Shime - Small Drum

Costumes and Props:

! happi coats over black with
! white calligraphy - a baggy-sleeved short cotton jacket, tied with
a sash (obi) around the waist. It is usually a plain color, typically blue
or black, with a symbol printed on the lapels and on the back
! Hachimaki, white headband
! Uchite ,Taiko drummer, can wear loose fitting happi (short
coat), with an obi
! Tabi, shoes with big toe separated.

ASSESSMENT
1. It is the Japanese drumming festival
a. Chinese New Year Festival c. Dragon Festival
b. Kodo Taiko Drum Festival d. Balinese Dance Festival
2. The Taiko drums with other traditional instruments like __ are visible in their performance.
a. Erhu b. Fue and shamisen c. Koto d. Shakuhachi
3. Kodo means______.
a. Heartbeat b. Drum’s beat c. Stick’s beat d. Percussion beat
4. Taiko drum festivals usually last for_________.
a. 5 hours and 30 minutes c. 3 hours and 30 minutes
c. 4 hours and 40 minutes d. 1 hour and 40 minutes
5. How do you call the Taiko drummer in Japanese?
a. Hachimaki b. Tabi c. Odaiko d. Uchite

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 INDONESIA’S BALINESE DANCE FESTIVAL
Balinese dances are a very ancient dance tradition that is a part of the religious and
artistic expression among the Balinese people. General description:
In Hinduism, dance is an accompaniment to the perpetual dissolving and reforming of
the world. The creative and reproductive balance is often personified as Shiva's wife, Durga,
sometimes called Uma, Parvati, or Kali. This has significance in Balinese Hinduism, since the
common figure of Rangda is similar in many ways to Durga.

Variations:
In Bali there are various categories of dance, including epic performances such as the
universal Mahabharata and Ramayana. Certain ceremonies at village temples feature a
special performance of a dance-drama, a battle between the mythical characters Rangda, the
witch representing evil, and Barong, the lion or dragon, representing good.
Among the dance traditions in Bali, the following deserve special mention:
! Barong-lion
! Legong- a refined dance form characterized by intricate finger movements,
complicated footwork, and expressive gestures and facial expressions
! Kecak- a form of Balinese dance and music drama, it originated in the 1930s Bali
and is performed primarily by men

Training of Bali Dance:

Bali dancers learn the craft as children from their mothers as soon as they are born. In
the womb, they are played the Balinese music and are taught to dance with their hands before
they can walk. Official training as a Bali dancer starts as young as seven. In Balinese dance
the movement is closely associated with the rhythms produced by the gamelan, a musical
ensemble specific to Java and Bali.

Movements:
Multiple levels of articulations in the face, eyes, hands, arms, hips, and feet are
coordinated to reflect layers of percussive sounds. The number of codified hand positions and
gestures, the mudras, is higher in Indiathan in Java or Bali. Hand positions and gestures are
nonetheless as important in Javanese and Balinese dance as in India. Whether in India,
Indonesia, or Cambodia, hands have a typically ornamental role and emphasize the dance's
delicate intricacy.

Legong dancer. Balinese dances Two Balinese dancers performing

incorporate eye and facial expressions. the farewell scene dance drama.

Men dancing the Kecak, monkey dance

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Costumes (as illustrated above)
Most female dancers put on:
! various colors of make-up
! wear a crown
! put both real and golden flowers in their hair
! wear sarong and wrap a long sash from their hips to their breasts as well as many gold
decorations
! crowns and decorations are made from cowhide

Male dancers put on:

! male dancers also put on make-up
! men use more red color for their eyes and cheeks and their eyebrows are colored in to
enhance their masculinity
! men wear a mask when they dance topeng dance
! they wear a crown and put on a cloak or many pieces of these clothes around their body
! they carry a sword on their shoulders

ASSESSMENT
1. An ancient dance tradition that comes from Indonesia.
a. folk dance b. Bali dance c. jazz d. modern
2. The two epic dances of Bali dance are _______.
a. ethnic or folk dance c. Mahabharata and Ramayana
b. solo or group dance d. court and ballroom dances
3. Balinese dance movements are associated with rhythms and produced by _____.
a. gamelan b. guitar c. piano d. orchestra
4. _______are important in Javanese and Balinese dance as in India.
a. Feet and legs position c. Head and shoulder movements
b. Hand positions and facial expressions d. Waist and arms position
5. The Bali dancers usually wear ______ on their heads.
a. Beads b. Crowns and masks c. Hachimaki d. Scarfs

THAILAND’S SKY LANTERN (YI PENG)

The Sky Lantern Festival of Thailand is held not just in this

country but also in China, Taiwan, and other neighboring
countries. This event is about the launching of lanterns
which are actually small hot air balloons. Each release of a
sky lantern is a petition, small prayer or good wishes of the
person who released the lantern. This event is held on the
full moon of the 12th month in the traditional Thai lunar
calendar. In the Western calendar this usually falls in
November.

Here are some samples of different meanings of releasing Sky Lanterns:

1. It sends a person’s bad luck and misfortune away into the air, especially if it disappears
from view before the fire goes out.
2. People say a short prayer before launching the lantern. Sometimes they will also write
their address in the lantern. Anyone who later finds the lantern can then claim money
from the sender. In this way, the good fortune is shared.
3. It is considered good luck to release a sky lantern, and many Thais believe they are
symbols of problems and worries floating away.

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 4. It is an act of veneration to Pra Ged Kaew Ju La Mannee (the Crystal Chedi in heaven
in which the Buddha’s hair is kept) by sending air- ballooned lanterns into the high sky.
The Chiang Mai area has been the scene of mass sky lantern release.

LOY KRATHONG or LOI KRATHONG OF THAILAND

! This takes place on the evening of the full moon of the 12th month in the traditional Thai
lunar calendar. In the Western calendar this usually falls in November.
! Loi / Loy literally means 'to float,' while krathong refers to the lotus-shaped receptacle
which can float on the water. Originally, the krathong was made of banana leaves or the
layers of the trunk of a banana tree or a spider lily plant.
! The festival is believed to originate in an ancient practice of paying respect to the spirit
of the waters. A krathong will be decorated with elaborately-folded banana
! leaves, flowers, candles, and incense sticks. A low value coin is sometimes included as
an offering to the river spirits. During the night of the full moon, Thais will float their
krathong on a river, canal or a pond lake.
! The tradition is said to have begun in the 13th century when a young queen made a
small boat adorned with candles and sent it down the river.
! It is a ritual honoring Phra Mae Kongka, the goddess of water. The construction of
colorful boats was a way of not only giving thanks for the abundance of water, but also a
way to seek forgiveness for overuse and pollution. Today, Loy Krathong is a way for
people to make a wish and look toward the future.

ASSESSMENT.
1. All are Thailand Lantern Festivals, except ________.
a. Chiang Mai b. Khom Fai c. Loy Krathong d. Yi peng
2. What particular term is used for “sky lantern”?
a. Chiang Mai b. Khom Fai c. Loy Krathong d. Yi peng
3. This is one of the reasons why Thais launch hot balloon lanterns into the sky.
a. for fun c. sends away misfortune and bad lucks
b. for hatred d. for personal purpose
4. It is a Festival in Thailand to honor the goddess of water.
a. Chiang Mai b. Khom Fai c. Loy Krathong d. Yi peng
5. It literally means “to float”
a. Loy b. Chaing c. Krathong d. Fai

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LEARNING TASK 3: BASIC ELEMENTS OF FESTIVAL ART FORMS
Directions: Fill-in the table below with the information about each festival based on the
readings in the previous pages.

Purpose of
Stage/ Costumes Visual Sound
Festivals Performers the
Props Effects Effects
Performance
Taiko Drum
Performance –
Japan
Spring Festival
/ Chinese New
Year
Bali Dance
Festival-
Indonesia

Lantern
Festival –
Thailand

LEARNING TASK 4: MY GRAFFITTI

Directions: Draw or list down the different terms or pictures that will describe the Asian
Theater and Festivals.

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REFLECTION:
1. Among the four theater art forms that
were discussed in this quarter, which one
do you like best? Why?
2. Have you seen the same theater art
forms/ festivals of China and Japan
performed here in the Philippines? Where?
Give some observations.
3. Name and compare the theater
arts/festivals of Japan and China to the
theater arts/festivals of the Philippines.
4. What values/attitudes/skills of the
Chinese, Japanese, Thai and Indonesians
do you like to acquire? Why?

My Friend Module,
I learned from Asian Theater Arts that ___________________________
________________________________________________________________
________________________________________________________________

I learned from the different Asian Festivals that____________________

________________________________________________________________
_______________________________________________________________

Your friend, ________________________

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