UNIT I – MUSIC Lesson 1 The Musical Elements of Indian Music
Lesson Review
Music from India is considered a sacred form of art, relating to gods and
goddesses, as well as legends and beliefs. Sangeet is the basis of Indian music. It is a combination of three art forms: vocal
music, instrumental music, and dance. The study of the music of India starts with the Vedas, the religious chants
composed by a tribe of nomadic shepherds which are sung without accompaniment. The raga, tala, and drone are the musical elements of India. A raga has a distinctive melodic character which consists of a combination of
musical phrases, has a fixed tone, and pitches are presented in the form of ascending and descending musical scale. A raga is a scale with seven tones. The Vadi and Sanwadi are certain notes in the raga which are stressed more
than the others. The Vadi is the principal tone of the raga. The Sanwadi is the 4th or 5th tone from the Vadi. An alapa or alapana is an improvised melodic prelude. The modern theoretical system of the raga began in 16th century when it was
classified according to scale – 72 in the Carnatic system and 10 in Hindustani. Mela is the term given to the Carnatic Scales. Thaak are the principal scales in Hindustani. The Jati system is the basis of the modern raga. The tala is simply a time measure. North Indian talas have the khali (meaning empty) marked by the hand wave.
Sum is beat 1 where the greatest emphasis is placed on a tala in North Indian
Music. In South Indian music, there are 35 talas called suladitalas. The tala is normally played on drums which are called taba in Hindustani and
Mridangam in Carnatic. The drone is the sound of the stringed instrument that accompanies the melody
of the raga. Gamake, an elaborate ornamentation Rasa refers to the emotions, feelings, and sentiments expressed by the music. Microtones are the notes of Indian Music which have smaller intervals compared
to those Western scale. The shruti is the division of the scale to 22 tones in Hindu music.
Answer the following questions
1. Characterize Indian music.
2. What is the tala?
3. Differentiate the two cultural style of traditional Indian music.
Activity Fill in the blanks with the missing letters to form the correct answers. 1. _ a _ _ _e _ t – the basis of Indian music. 2. _ a_ _ - the word is derived from the Sanskrit root meaning ―to color‖
3. _ _ _i – the principal tone of raga. 4. _ _ _ _a _ i – the 4th or 5th tone from the Vadi 5. _ _ a _ _ an improvised melodic prelude 6. _ e_ _ - Carnatic scales 7. _ _ a _ _ _ -10 principal scales in North Indian music 8. _ _ _ a – a time measure 9. _ a _ - the first beat o the tala 10. _ a _ _ - the tala’s strong beat.
Lesson 2 India’s Musical Instruments Lesson Review Indian musical instruments is divided into tata vadya or chordophones (string),
sushira vadya or aerophones (wind), gnavadha or membranophones(drums), and Ghana vadya or idiophones (solid percussion). The sitar, tambura, sarod, sarangi, veena or vina, and chitravina gettuvadyam
are the tata vadya chordophones (string instruments). The table, mridangam, ghatam, pakhawaj, and pung are the gvanadhya vadya
membranophones(drum instruments). The nadaswaram, shehnai, mohuri, and karna are the sushira vadya or
aerophones (wind instruments). Answer the following questions
1. Name the different Indian musical instruments. ___________________________________________________________________ __________________________________________________________________
2. Characterize each musical instrument. ___________________________________________________________________ __________________________________________________________________
3. Have you seen any one of these instruments? ___________________________________________________________________ __________________________________________________________________
Activity
Write on the blanks the codes for the kind of instrument for the following: C for chordiophones, A for aerophones, and M for membranophones. _____1. Sitar
_____ 6. mohuri
_____2. Table
_____ 7. mrindangam
_____3. Karna
_____ 8. sarod
_____4. Tambura
_____ 9. veena
_____5. Pung
_____ 10. sarangi
Lesson 3 Thai Musical Instruments Lesson Review The Tribhumikatha, one of the first books written in Thai, as well as the stone
inscription ding the time of King Bamkhamhaeng of the Sukhothai period, documented early thai musical instruments like the phin, sang, pi chanai, krachap pi, chakee, and thon. The Phleng Rua, a series of Ayntthaya songs in the form of musical suite. The pi phat, mahori, khruang-saay are the three types of Thai instrumental
ensemble.
The pi phat is the main instrumental ensemble of Thailand. The Mahori ensemble is composed of stringe and percussion instruments. The khruang-saay is a Thai instrumental ensemble composed of stringed, wind
and percussion instruments. Answer the following questions
1. Prove that Thais’ have respect for their musical instruments. ___________________________________________________________________ __________________________________________________________________
2. Are you familiar with any of the Thai instruments? Which ones? ___________________________________________________________________ __________________________________________________________________
Lesson 4 Indonesian Musical Instruments Lesson Review Indonesia has more gong-and-drum ensembles than any other country in the
World. The gamelan is the largest and most popular instrumental ensemble in
Indonesia. The saron is the main melody instrument. The gong chime boning is the instrument where variations on the main theme are
played. The boning barung and bonang panerus are two types of bonang. The gongs are the punctuating instruments. The drums are the rhythm-marking instruments of the gamelan.
The Wayang Kulit is an Indonesian musical drama presented with the use of
puppets. It is an Indonesian shadow play. Answer the following questions
1. Differentiate the two gong- and- drum ensembles of Indonesia. ___________________________________________________________________ __________________________________________________________________
2. Discuss the importance of gong – and – drum ensembles in Indonesian life. ___________________________________________________________________ __________________________________________________________________
3. Compare the gamelans of the different islands of Indonesia. ___________________________________________________________________ __________________________________________________________________
Activity
Form groups of four. Stage a Wayang Kulit, Filipino style. Think of them for your musical drama. Be creatve.
Lesson 5 African Musical Instruments Lesson Review The instruments of North Africa are believed to be the original models for almost
a number of Western musical instruments.
African musical instruments show a close link between music and sculpture. The drum is the king of African musical instruments. It is equated with man. The dominance of certain types of musical instruments in a particular area is
influenced by the culture and flora in that region. Answer the following questions
1. Characterize African music. ___________________________________________________________________ __________________________________________________________________
2. Name and describe the typical African musical instruments. ___________________________________________________________________ __________________________________________________________________
Activity
Identify. Write the answers on the blanks. ________________1. It is the King of African musical instrument. ________________2. These are musical instruments designed to modify the sound of the human voice. ________________3. It is also known as the ―thumb‖ piano. ________________4. It is a decorative lyre from Ethiopia. ________________5. It is carved with the figure of a kneeling woman. ________________6. It has a cupped resonator made from coconut shell. ________________7. These pipes from Swaziland have no mouth-pieces. ________________8. It has 7 finger holes and is played in a transverse position. ________________9. It is a simple stringed instrument from Congo.
________________10. It is from Sierra Leone and consists of wooden bars and gourd resonators beneath.
Lesson 6 Latin American Musical Instruments Lesson Review The habanera is considered the stateliest of Latin American rhythm which
originated in Cuba. Argentina’s Latin beat is expressed by the gato which has a guitar
accompaniment and rapid footwork. Brazil’s latin beat is the samba and bossa nova which are gently swaying beats. Stringed instruments were absent during Latin America’s colonial period. The bongos, conga drum, maraccas, cabaca, guiro, and claves are Latin
American percussion instruments. The cuatro, tiple, tres, and charango are stringed instruments. The antaras (panpipes) and zamponas (ocarinas) are two types of South
American woodwind instruments. Brass instruments are seldom used in Latin American folk music. Musical instruments from other cultures have already made their grand entrance
to latin American Music. Carnival in Brazil is community street music.
Answer the following questions
1. Compare the music of Latin America and the music of the Philippines. ___________________________________________________________________ __________________________________________________________________
2. Name and describe the typical Latin American musical instruments.
___________________________________________________________________ __________________________________________________________________
Activity
Unscramble the letters to form the Latin American musical instrument.
1. SGOONB 2. ANCGO 3. SCAAACRM 4. AAACBC 5. OIGRU 6. SVLEAC 7. OTURAC 8. EPTIL 9. SRET 10. ONRHGAAC
___________________ ___________________ ___________________ ___________________ ___________________ ___________________ ___________________ ___________________ ___________________ ___________________
UNIT II– ART Lesson 1
Ancient Egyptian Art Lesson Review The pyramids are architectural wonders which are the oldest stone buildings in
the world. The belief in the afterlife inspired the creation of the pyramids. Grand temples were built by the pharaohs to honor their gods and goddesses. The sarcophagus or large stone coffin of a pharaoh is made of solid gold. Every Egyptian art form in any time period strictly adheres to the style of
frontalism. A stele is a painted or carved upright stone or wood slab used as a monument.
Activity Egyptian Art Materials: pencil, eraser
Direction: 1. Cut out a picture of an Egyptian art form of your choice (sculpture, architecture, or painting). 2. Make your own interpretation, use this space below.
Lesson 2 Ancient Greek Art Lesson Review The Parthenon in the Acropolis was erected in the 5th century B.C.E. as a temple
Athena, a Greek goddess and patron of Athens. Pericles, a great Athenian general, commissioned Phidas, his sculptor friend, to
oversee all architectural and sculptural projects. Phidias was considered by art historians as among the greatest of all Greek
sculptors. The dipylon Vase portrays the burial customs of the Greeks. Terra cotta vessels served as grave monuments, storage urns for oils or wines,
drinking cups, and others. A frieze is a decorative often sculptured band running across the upper part of a
well.
Activity Painting a Vase Materials:
small, medium or large-size plain flower vase Black art paint or red art paint Water color brush
Direction: 1. Decide on what style of painting you will do-black figure style or red figure style. 2. If you chose the black figure style, paint the vase with red paint. Use only black water color to paint your designs or figures. 3. If you choose the red figure style, paint the vase with black art paint. Use only red water color to paint your designs or figures. 4. Be creative in your designs or figures.
Lesson 3 Ancient Roman Art Lesson Review Historians agreed that the world’s greatest builders are the Romans. The Romans were the first to use the concrete as a standard material for
construction. The Pantheon was built by the Romans as a temple to all their gods and
goddesses. The Romans invented the round arch, a curved arrangement of stones over an
open space which created new building designs.
An aqueduct took water over long distances to places where people needed the
water. The Pont du Gard is an aqueduct built by the Romans in Mines, France. Triumphal arches were arched monuments that were built to celebrate great
military victories. The Colosseum, the most familiar and impressive Roman landmark, is an
architectural achievement which represented the Romans’ highest ideals. The Romans were among the first to develop creating illusion of depth called
drawing in perspective.
Activity
Buildings Materials:
pencil
Direction: 1. Think of a building. 2. Remember how it looks like. 3. Decorate the buildings structure by using Roman round arches. 4. Draw the building on the space provided.
Lesson 4 Art of the Middle Ages Lesson Review The Church strongly influenced the development of art forms and styles during
the Middle Ages.
A new international art style called Romanesque emerged during the Middle
Ages. The masterpiece of Byzantine architecture was the magnificent Hagia Sophia in
Constantinople (now Istanbul). The Bible was the chief source of subject matter. The most important styles in Western Europe were the Celtic, Romanesque and
Gothic. The Celtic artist became famous for their illuminations for Bibles. Illuminations were richly painted book illustrations which were the most important
paintings created in Europe during the period. The Romanesque paintings lack perspective, but showed skill in composition. A fresco is a painting created when pigment is applied to a section of the wall
spread with fresh plaster. The Romanesque style is described as enamel like depth, brilliant colors,
sparkling ornaments, smooth linear flow of poses and draperies, and very elegant. Traceried, ornamental windows, and ribbed vaults were observed to be
characteristics of art during the Gothic period. Cloisonné is a colored decoration made of enamels poured into the divided areas
in a design outlined with wire or metal strips. Stained glass is an artistic arrangement of colored pieces of glass held in place
with lead strips.
Activity Mosaic Sand Cast Materials:
plaster of paris Water Clean sand in a box A container and spoon to mix plaster Decorative objects (buttons, shells, pebbles, bits of wood, glass)
Direction: 1. Wet the sand and press something into it to make an impression. 2. Put the decorative objects face down in the impression so that there is little space between them as possible. 3. Mix the plaster of paris according to the box instruction. 4. Pour the plaster into the decorative objects in the impression and let it harden (it will take about fifteen or twenty minutes). 5. As the plaster hardens, it should stick to the decorations. 6. Remove the plaster cast from the impression and brush loose sand from the surface.
Lesson 5 Renaissance Art Lesson Review
Renaissance was a rebirth of interest in the ancient culture of Greece and Rome.
It means rebirth. Jules Michelet, a French historian, was the first to use the term Renaissance in
1855 to describe the period that emphasized the world of nature and man. One of the new developments during the Renaissance was the printing press. Johann Gutenberg, a German, was credited for printing the Bible, the first book. Lorenzo the Magnificent was a great patron of the arts. Isabelle D’ Este was considered the first Renaissance women. Massacio, a young painter from Florence, Italy created the linear perspective, a
painting style that became the trademark of Renaissance art. He was the first great painter Renaissance. The linear perspective is a graphic system that showed artists how to create an
illusion of depth and volume on a flat surface.
Sandro Boticelli used subjects and themes derived from Greek and Roman
culture and classical mythology. Jan van Eyck was the first master oil painter. Rembrandt Hammenszoon van Rijon was the greatest Dutch artist. Peter Bruegel, the elder was the greatest painter of realistic contemporary
scenes. Albrecht Durer was the most famous German painter during the Renaissance. Hans Holbien , the Younger surpassed his German contemporaries in portrait
painting. Sofonisba Anguissola, a portrait painter, was the first female painter to gain
international reputation.
Activity Linear Perspective
Make a drawing using a ruler and a pencil on how a scene narrows gradually as it goes back into space.
Lesson 6 Egyptian Art Forms Ancient Egyptian art is five thousand years old. It emerged and took shape in the ancient Egypt, the civilization of the Nile Valley. Expressed in paintings and sculptures, it was highly symbolic and fascinating - this art form revolves round the past and was intended to keep history alive. In a narrow sense, Ancient Egyptian art refers to the canonical 2D and 3D art developed in Egypt from 3000 BC and used until the 3rd century. It is to be noted that most elements of Egyptian art remained remarkably stable over the 3000 year period that represents the ancient civilization without strong outside influence. The same basic conventions and quality of observation started at a high level and remained near that level over the period. Ancient Egyptian art forms are characterized by regularity and detailed depiction of human beings and the nature, and, were intended to provide company to the deceased in the 'other world'. Artists' endeavored to preserve everything of the present time as clearly and permanently as possible. Completeness took precedence over prettiness. Some art forms present an extraordinarily vivid representation of the time and the life, as the ancient Egyptian life was lived thousand of years before. Egyptian art in all forms obeyed one law: the mode of representing man, nature and the environment remained almost the same for thousands of years and the most admired artists were those who replicated most admired styles of the past. In Egyptian hieroglyphs, a cartouche is an oval with a horizontal line at one end, indicating that the text enclosed is a royal name, coming into use during the beginning of the Fourth Dynasty under Pharaoh Sneferu, replacing the earlier serekh. While the cartouche is usually vertical with a horizontal line, it is sometimes horizontal if it makes the name fit better, with a vertical line on the left. The Ancient Egyptian word for it was shenu, and it was essentially an expanded shen ring. In Demotic, the cartouche was reduced to a pair of parentheses and a vertical line. Of the five royal titularies it was the throne name, also referred to as prenomen, and the "Son of Ra" titulary, the so-called nomen, i.e., the name given at birth, which were enclosed by a cartouche. At times amulets were given the form of a cartouche displaying the name of a king and placed in tombs. Such items are often important to archaeologists for dating the tomb and its contents. Cartouches were formerly only worn by Pharaohs. The oval surrounding their name was meant to protect him from evil spirits in life and after death. The cartouche has become a symbol representing protection from evil and give good luck Egyptians believed that if you had your name written down in some place, then you would not disappear after you died. If a cartouche was attached to their coffin then they would have their name in at least one place. There were periods in Egyptian history
when people refrained from inscribing these amulets with a name, for fear they might fall into somebody's hands conferring power over the bearer of the name. Symbolism also played an important role in establishing a sense of order. Symbolism, ranging from the Pharaoh's regalia (symbolizing his power to maintain order) to the individual symbols of Egyptian gods and goddesses, was omnipresent in Egyptian art. Animals were usually also highly symbolic figures in Egyptian art. Color, as well, had extended meaning - Blue and green represented the Nile and life; yellow stood for the sun god; and red represented power and vitality. The colors in Egyptian artifacts have survived extremely well over the centuries because of Egypt's dry climate. Despite the stilted form caused by a lack of perspective, ancient Egyptian art is often highly realistic. Ancient Egyptian artists often show a sophisticated knowledge of anatomy and a close attention to detail, especially in their renderings of animals. The word paper is derived from "papyrus", a plant which was cultivated in the Nile delta. Papyrus sheets were derived after processing the papyrus plant. Some rolls of papyrus discovered are lengthy, up to 10 meters. The technique for crafting papyrus was lost over time, but was rediscovered by an Egyptologist in the 1940s. Papyrus texts illustrate all dimensions of ancient Egyptian life and include literary, religious, historical and administrative documents. The pictorial script used in these texts ultimately provided the model for two most common alphabets in the world, the Roman and the Arabic. A hieroglyphic script is one consisting of a variety of pictures and symbols. Some of symbols had independent meanings, whereas some of such symbols were used in combinations. In addition, some hieroglyphs were used phonetically, in a similar fashion to the Roman alphabet. Some symbols also conveyed multiple meanings, like the legs meant to walk, to run, to go and to come. The script was written in three directions: from top to bottom, from left to right, and from right to left. This style of writing continued to be used by the ancient Egyptians for nearly 3500 years, from 3300 BC till the third century AD. Many art works of the period contain hieroglyphs and hieroglyphs themselves constitute an amazing part of ancient Egyptian arts. Knowledge of hieroglyphic script was lost after it was superseded by other scripts. The script was decrypted by Champollion who studied the Rosetta stone for 14 years and discovered the key.
Egyptian art activities
You as an Egyptian Have the students draw a self-portrait in the Egyptian style. Remind them to show: the head, hips, arms, legs, and feet in profile the eye, shoulders, and chest from the front men posed with the left foot forward, women with their feet together a wig, jewelry, costume, and something magical and protective Body Language Discuss the different kinds of expressions and postures we use to express certain feelings and reactions. How do these actions reveal moods? Play charades. Give each student a folded card upon which is written an emotion or situation such as protecting, commanding, praising, worshiping, offering, meditating, winning, losing, and so on. Discuss how Egyptian artists used gestures and poses to explain what a figure was doing. Favorites Forever Ask the students to imagine that they believe in the same kind of afterlife that the Egyptians did. Have them make a list of their favorite pastimes and things that they would like to have with them forever. Suggest that they write a story about the things on their list and/or draw a picture of their ideas. The class could make a time capsule into which the students would put their lists and pictures and even small objects. They could also write letters to people of the future, who might be confused about what some of the things are. Life after Death Discuss with your class the following topics or assign them to a group of students who will report to the class, using the images in this Web site to illustrate their research. Egyptian afterlife beliefs How Egyptian burial practices changed from the Old Kingdom to late dynastic times (This is a way of reminding students that although much about Egyptian art and society remained fairly consistent for three thousand years, change did occur.) A Broad Collar Have the students make their own Egyptian broad-collar necklaces (see Wah's jewelry). Cut large half-circles out of oak tag or construction paper, then ask the students to create their own repeating designs and use their favorite colors. This could be a collage activity. When completed, the collars can be strung and worn.
Eating it Up In Stela of a Middle Kingdom official, Mentuwoser's table is piled high with his ritual foods. Ask the students to draw themselves at a table covered with their favorite things to eat. Before they start drawing, ask them to think about how they will arrange the food so that each kind can be clearly seen. When they have finished their artwork, talk about whether they have used the Egyptian convention of putting things one on top of another and avoiding overlapping or whether they have devised other techniques Art Words Examine carefully the way the Pectoral of Princess Sithathoryunet was designed to form a sentence made up of hieroglyphic signs. Ask each student to draw a design for a necklace or a belt buckle using two or more words, one of which is his or her name. Name Games An Egyptian king had two especially important names. His throne name identified him as the ruler of Egypt, and his birth name proclaimed him to be the son of Re, the sun god, and therefore the possessor of divine powers. Both names were encircled in cartouches. Ask the students to think of two names they would like to add to their own names such as the Athlete, the Brain, the Whiz, the Star, the Brave, the Beautiful, and so on. Then ask them to design appropriate decorations to frame their two favorite names. Before they sign their artwork, pass the drawings of the framed assumed names to other class members and see if they can guess to whom the assumed names and "cartouches" belong. Animal Symbols In Sphinx of Senwosret III, the pharaoh's head is depicted on the body of a lion to symbolize royal power. Ask the students to think of a person they admire, either someone they know or a famous person, and then think of an animal or a combination of animals whose characteristics symbolize the special qualities of that person. Have them draw a picture of the animal or animals and write a description of why the animal(s) symbolize the person they have chosen. You may decide to display the animal pictures and the descriptions separately in the school hallway and challenge other classes to match them up. To extend the activity, ask the students to draw parts of animals--a lion's paws, a bird's wings, the snout and teeth of a crocodile, the horns of a bull, and so on--and then combine them to form new creatures. What or who could they represent and why? Divine Power Discuss how divine power differs from human power. Talk about the ways in which people of different cultures have tried to imagine God (in human form, as a powerful
animal, as a phenomenon of nature, et cetera). Would this ultimate One be illustrated best in one image or with several different forms and shapes? Ask the students to explain their ideas about picturing divine powers in a drawing, a series of drawings, a collage, or a short essay. Perhaps their endeavors could be put together to form a class booklet or to create a wall mural Presentation of Self To be important and good-looking forever, Yuny and Renenutet (Yuny and his wife, Renenutet) had themselves portrayed wearing fine linen, curled and braided wigs, and sitting upon a chair carved with lion's-paw feet, an obvious symbol of power and wealth. Ask the students about what clothing, adornment, hairstyle, and symbols of glamour and status modern celebrities choose. How would the students portray themselves? What would they wear, what poses would they take, and what symbols would they surround themselves with? Art and Culture Is art an important source of information about civilizations? Explain. Talk about the Egyptian style of depicting the human figure and about the use of human-animal combinations in visualizing Egyptian deities. What does Egyptian art reveal about Egyptian religious beliefs? About their political beliefs? About Egyptian society? Do political, religious, and social views of our times influence the content and style of contemporary art? If so, in what ways? Is art important today? Ask the students to think about which forms of art mean the most to them. Compare the most ancient Egyptian works of art with those made in later times. What do these comparisons suggest about tradition and change in ancient Egypt? With more advanced students, discuss changes in modern art and society that have taken place in the last fifty years. Why is change much more rapid today?
Lesson 7 Greek Art Forms Greek art (or, more correctly, art in Greece) began in the Cycladic and Minoan civilization, and gave birth to Western classical art in the subsequent Geometric, Archaic and Classical periods (with further developments during the Hellenistic Period). It absorbed influences of Eastern civilizations, of Roman art and its patrons, and the new religion of Orthodox Christianity in the Byzantine era and absorbed Italian and European ideas during the period of Romanticism (with the invigoration of the Greek Revolution), right up until the Modernist and Postmodernist.
Greek art is mainly five forms: architecture, sculpture, painting, pottery and jewelry making. The Ancient Greeks made pottery for everyday use, not for display; the trophies won at games, such as the Panathenaic Amphorae(wine decanters), are the exception. Most surviving pottery consists of drinking vessels such as amphorae, kraters (bowls for mixing wine and water), hydria (water jars), libation bowls, jugs and cups. Painted funeral urns have also been found. Miniatures were also produced in large numbers, mainly for use as offerings at temples. In the Hellenistic period a wider range of pottery was produced, but most of it is of little artistic importance. At the end of the Geometric phase, the Orientalizing phase of vase painting saw the abstract geometric designs replaced by the more rounded, realistic forms of Eastern motifs, such as the lotus, palmette, lion, and sphinx. Ornaments increased in amount and intricacy. In earlier periods even quite small Greek cities produced pottery for their own locale. These varied widely in style and standards. Distinctive pottery that ranks as art was produced on some of the Aegean islands, in Crete, and in the wealthy Greek colonies of southern Italy and Sicily. By the later Archaic and early Classical period, however, the two great commercial powers, Corinth and Athens, came to dominate. Their pottery was exported all over the Greek world, driving out the local varieties. Pots from Corinth and Athens are found as far afield as Spain and Ukraine, and are so common in Italy that they were first collected in the 18th-century as "Etruscan vases". Many of these pots are mass-produced products of low quality. In fact, by the 5th century BC, pottery had become an industry and pottery painting ceased to be an important art form. The history of Ancient Greek pottery is divided stylistically into five periods:
the Protogeometric from about 1050 BC the Geometric from about 900 BC the Late Geometric or Archaic from about 750 BC the Black Figure from the early 7th century BC and the Red Figure from about 530 BC
The range of colours which could be used on pots was restricted by the technology of firing: black, white, red, and yellow were the most common. In the three earlier periods, the pots were left their natural light colour, and were decorated with slip that turned black in the kiln. The fully mature black-figure technique, with added red and white details and incising for outlines and details, originated in Corinth during the early 7th century BC and was
introduced into Attica about a generation later; it flourished until the end of the 6th century BC. The red-figure technique, invented in about 530 BC, reversed this tradition, with the pots being painted black and the figures painted in red. Red-figure vases slowly replaced the black-figure style. Sometimes larger vessels were engraved as well as painted. During the Protogeometric and Geometric periods, Greek pottery was decorated with abstract designs. In later periods, as the aesthetic shifted and the technical proficiency of potters improved, decorations took the form of human figures, usually representing the gods or the heroes of Greek history and mythology. Battle and hunting scenes were also popular, since they allowed the depiction of the horse, which the Greeks held in high esteem. In later periods erotic themes, both heterosexual and male homosexual, became common. Greek pottery is frequently signed, sometimes by the potter or the master of the pottery, but only occasionally by the painter. Hundreds of painters are, however, identifiable by their artistic personalities: where their signatures haven't survived they are named for their subject choices, as "the Achilles Painter", by the potter they worked for, such as the Late Archaic "Kleophrades Painter", or even by their modern locations, such as the Late Archaic "Berlin Painter". Architecture (building executed to an aesthetically considered design) was extinct in Greece from the end of the Mycenaeanperiod (about 1200 BC) until the 7th century, when urban life and prosperity recovered to a point where public building could be undertaken. But since most Greek buildings in the Archaic and Early Classical periods were made of wood or mud-brick, nothing remains of them except a few ground-plans, and there are almost no written sources on early architecture or descriptions of buildings. Most of our knowledge of Greek architecture comes from the few surviving buildings of the Classical, Hellenistic and Roman periods (since Roman architecture heavily copied Greek), and from late written sources such as Vitruvius (1st century AD). This means that there is a strong bias towards temples, the only buildings which survive in any number. The standard format of Greek public buildings is well known from surviving examples such as the Parthenon, and even more so from Roman buildings built partly on the Greek model, such as the Pantheon in Rome. The building was usually either a cube or a rectangle made from limestone, of which Greece has an abundance, and which was cut into large blocks and dressed. Marble was an expensive building material in Greece: high quality marble came only from Mt Pentelus in Attica and from a few islands such as Paros, and its transportation in large blocks was difficult. It was used mainly for
sculptural decoration, not structurally, except in the very grandest buildings of the Classical period such as the Parthenon. There were two main styles (or "orders") of Greek architecture, the Doric and the Ionic. These names were used by the Greeks themselves, and reflected their belief that the styles descended from the Dorian and Ionian Greeks of the Dark Ages, but this is unlikely to be true. The Doric style was used in mainland Greece and spread from there to the Greek colonies in Italy. The Ionic style was used in the cities of Ionia (now the west coast of Turkey) and some of the Aegean islands. The Doric style was more formal and austere, the Ionic more relaxed and decorative. The more ornate Corinthian style was a later development of the Ionic. These styles are best known through the three orders of column capitals, but there are differences in most points of design and decoration between the orders. See the separate article on Classical orders. Most of the best known surviving Greek buildings, such as the Parthenon and the Temple of Hephaestus in Athens, are Doric. The Erechtheum, next to the Parthenon, however, is Ionic. The Ionic order became dominant in the Hellenistic period, since its more decorative style suited the aesthetic of the period better than the more restrained Doric. Some of the best surviving Hellenistic buildings, such as the Library of Celsus, can be seen in Turkey, at cities such as Ephesus and Pergamum. But in the greatest of Hellenistic cities, Alexandria in Egypt, almost nothing survives.
Activity
Painting a Vase Materials:
small, medium, or large – sized plain flower vase Black art paint or red art paint Water color Brush
Direction: 1. Decide on what painting you will do – black figure style or red figure style. 2. If you chose the black figure style, pain the vase with red art paint. Use only black water color to paint your designs or figures.
3. If you choose the red figure style, paint the vase with black art paint. 4. Be creative in your designs or figures Lesson 8 Ancient Roman Art Roman art refers to the visual arts made in Ancient Rome and in the territories of the Roman Empire. Roman art includes architecture, painting, sculpture and mosaic work. Luxury objects in metal-work, gem engraving, ivory carvings, and glass, are sometimes considered in modern terms to be minor forms of Roman art, although this would not necessarily have been the case for contemporaries. Sculpture was perhaps considered as the highest form of art by Romans, but figure painting was also very highly regarded. The two forms have had very contrasting rates of survival, with a very large body of sculpture surviving from about the 1st century BC onwards, though very little from before, but very little painting at all remains, and probably nothing that a contemporary would have considered to be of the highest quality.Ancient Roman pottery was not a luxury product, but a vast production of "fine wares" in terra sigillata were decorated with reliefs that reflected the latest taste, and provided a large group in society with stylish objects at what was evidently an affordable price. Roman coinswere an important means of propaganda, and have survived in enormous numbers. Other perishable forms of art have not survived at all. Of the vast body of Roman painting we now have only a very few pockets of survivals, with many documented types not surviving at all, or doing so only from the very end of the period. The best known and most important pocket is the wall paintings from Pompeii, Herculaneumand other sites nearby, which show how residents of a wealthy seaside resort decorated their walls in the century or so before the fatal eruption of Mount Vesuvius in 79 AD. A succession of dated styles have been defined and analysed by modern art historians beginning withAugust Mau, showing increasing elaboration and sophistication. Starting in the 3rd century AD and finishing by about 400 we have a large body of paintings from the Catacombs of Rome, by no means all Christian, showing the later continuation of the domestic decorative tradition in a version adapted - probably not greatly adapted - for use in burial chambers, in what was probably a rather humbler social milieu than the largest houses in Pompeii. Much of Nero's palace in Rome, the Domus Aurea, survived as grottos and gives us examples which we can be sure represent the very finest quality of wall-painting in its style, and which may well have represented significant innovation in style. There are a number of other parts of painted rooms surviving from Rome and elsewhere, which somewhat help to fill in the gaps of
our knowledge of wall-painting. From Roman Egypt there are a large number of what are known as Fayum mummy portraits, bust portraits on wood added to the outside of mummies by a Romanized middle-class; despite their very distinct local character they are probably broadly representative of Roman style in painted portraits, which are otherwise entirely lost. Nothing remains of the Greek paintings imported to Rome during the 4th and 5th centuries, or of the painting on wood done in Italy during that periodIn sum, the range of samples is confined to only about 200 years out of the about 900 years of Roman history, and of provincial and decorative painting. Most of this wall painting was done using the secco (―dry‖) method, but some fresco paintings also existed in Roman times. There is evidence from mosaics and a few inscriptions that some Roman paintings were adaptations or copies of earlier Greek works. However, adding to the confusion is the fact that inscriptions may be recording the names of immigrant Greek artists from Roman times, not from Ancient Greek originals that were copied The Romans entirely lacked a tradition of figurative vase-painting comparable to that of the Ancient Greeks, which the Etruscans had emulated. Early Roman art was influenced by the art of Greece and that of the neighbouring Etruscans, themselves greatly influenced by their Greek trading partners. An Etruscan speciality was near life size tomb effigies in terracotta, usually lying on top of a sarcophagus lid propped up on one elbow in the pose of a diner in that period. As the expanding Roman Republic began to conquer Greek territory, at first in Southern Italy and then the entire Hellenistic world except for the Parthian far east, official and patrician sculpture became largely an extension of the Hellenistic style, from which specifically Roman elements are hard to disentangle, especially as so much Greek sculpture survives only in copies of the Roman period By the 2nd century BCE, "most of the sculptors working in Rome" were Greek often enslaved in conquests such as that of Corinth (146 BCE), and sculptors continued to be mostly Greeks, often slaves, whose names are very rarely recorded. Vast numbers of Greek statues were imported to Rome, whether as booty or the result of extortion or commerce, and temples were often decorated with re-used Greek works. A native Italian style can be seen in the tomb monuments of prosperous middleclass Romans, which very often featured portrait busts, andportraiture is arguably the main strength of Roman sculpture. There are no survivals from the tradition of masks of ancestors that were worn in processions at the funerals of the great families and otherwise displayed in the home, but many of the busts that survive must represent ancestral figures, perhaps from the large family tombs like the Tomb of the Scipios or the later mausolea outside the city. The famous bronze head supposedly of Lucius
Junius Brutus is very variously dated, but taken as a very rare survival of Italic style under the Republic, in the preferred medium of bronze. Similarly stern and forceful heads are seen in the coins of the consuls, and in the Imperial period coins as well as busts sent around the Empire to be placed in the basilicas of provincial cities were the main visual form of imperial propaganda; even Londinium had a near-colossal statue of Nero, though far smaller than the 30 metre high Colossus of Nero in Rome, now lost. The Tomb of Eurysaces the Baker, a successful freedman (c. 50-20 BC) has a friezethat is an unusually large example of the "plebeian" style. Imperial portraiture was initially Hellenized and highly idealized, as in the Blacas Cameo and other portraits of Augustus. It was in the area of architecture that Roman art produced its greatest innovations. Because the Roman Empire extended over so great of an area and included so many urbanized areas, Roman engineers developed methods for city building on a grand scale, including the use of concrete. Massive buildings like the Pantheon and the Colosseum could never have been constructed with previous materials and methods. Though concrete had been invented a thousand years earlier in the Near East, the Romans extended its use from fortifications to their most impressive buildings and monuments, capitalizing on the material’s strength and low cost The concrete core was covered with a plaster, brick, stone, or marble veneer, and decorative polychrome and gold-gilded sculpture was often added to produce a dazzling effect of power and wealth Because of these methods, Roman architecture is legendary for the durability of its construction; with many buildings still standing, and some still in use, mostly buildings converted to churches during the Christian era. Many ruins, however, have been stripped of their marble veneer and are left with their concrete core exposed, thus appearing somewhat reduced in size and grandeur from their original appearance, such as with the Basilica of Constantine. During the Republican era, Roman architecture combined Greek and Etruscan elements, and produced innovations such as the round temple and the curved arch. As Roman power grew in the early empire, the first emperors inaugurated wholesale leveling of slums to build grand palaces on the Palatine Hill and nearby areas, which required advances in engineering methods and large scale design. Roman buildings were then built in the commercial, political, and social grouping known as a forum, that of Julius Caesar being the first and several added later, with the Forum Romanum being the most famous. The greatest arena in the Roman world, the Colosseum, was completed around 80 AD. at the far end of that forum. It held over 50,000 spectators, had retractable fabric coverings for shade, and could stage massive spectacles
including huge gladiatorial contests and mock naval battles. This masterpiece of Roman architecture epitomizes Roman engineering efficiency and incorporates all three architectural orders – Doric, Ionic, and Corinthian Less celebrated but just as important if not more so for most Roman citizens, was the five-story insula or city block, the Roman equivalent of an apartment building, which housed tens of thousands of Romans.
Activity
The Romans used the round arches over and over again. Arches created patterns and outlines. Let’s make outlines and figure patterns using different objects. A. Potatoes and Paints 1. Cut a raw potato in half 2. On the smooth, cut surface of one of the potato halves, carve shapes into the potato. 3. On the other half of the potato, cut away everything except the shape that you want to see. 4. Coat the potato surfaces with paint, and then use them as stamps on a piece of paper. 5. Use your imagination to make patterns with your potato stamps. B. Sponges 1. Sponges make wonderful stamps. 2. Use your imagination to cut sponges into shapes. 3. See what kinds of patterns the sponge stamps make. C. Hands 1. You can also make stamps out of parts of your hands. 2. Coat the fingertip of your thumb with paint and press it on paper to make patterns. 3. If you have enough paint and paper, you can use your whole hand as a stamp.
Lesson 9 Dances Dance is the art of movement of the body, usually rhythmically and to music, using prescribed or improvised steps and gestures. "A dance" is any one prescribed sequence of such movements, or the music to which it is performed, or an event at which it takes place. Dance may also be regarded as a form of nonverbal communication recognizable in other animals; in bee dances and behaviour patterns such as mating dances. Dance can be categorized and described in various ways. It may be analysed purely by its choreography, its repertoire of movements, or it may be classified according to its time or place of origin. Yet study reveals many generic similarities in many different times and places. An important distinction is to be drawn between theatrical and participatory dance. Nevertheless, these two categories are not completely separate. Each may borrow from the other. Social dancers may become professional or competitive dancers, may be watched by millions. Both may also have special functions; they may be ceremonial dances performed only at one time of year, they may be intended as an erotic dance, a war dance or a sacred or liturgical dance. Such dances allow both emotional expression and invocation. Martial arts kata are often compared to dances, and sports such as gymnastics, figure skating and synchronized swimming are generally thought to incorporate dance. Theatrical dance, also called performance or concert dance, is intended primarily as a spectacle, usually a performance upon a stage byvirtuoso dancers. It often tells a story, perhaps using mime, costume and scenery, or else it may simply interpret the musical accompaniment, which is often specially composed. Examples are western ballet and modern dance, Classical Indian dance and Chinese and Japanese song and dance dramas. Most classical forms are centred upon dance alone, but performance dance may also appear in opera and other forms of musical theatre. Participatory dance, on the other hand, whether it be a folk dance, a social dance, a group dance such as a line, circle, chain or square dance, or a partner dance such as is common in western Western ballroom dancing, is undertaken primarily for a common purpose, such as social interaction or exercise, of participants rather than onlookers. Such dance seldom has any narrative. A group dance and a corps de ballet, a social partner dance and a pas de deux, differ profoundly. Even a solo dance may be undertaken solely for the satisfaction of the dancer. Participatory dancers often all
employ the same movements and steps but, for example, in the rave culture of electronic dance music, vast crowds may engage in free dance, uncoordinated with those around them. On the other hand, some cultures lay down strict rules as to the particular dances in which, for example, men, women and children may or must participate. Many early forms of music and dance were created for each other and performed together. This paired development has continued over time, producing paired dance/music forms such as the jig, waltz, tango, disco, and salsa. Some musical genres have a parallel dance form such as baroque music and baroque dance; others, such as classical music and classical ballet, developed separately. Although dance is often accompanied by music, it can also be performed without music, or it may provide its own audible accompaniment as in tap dance. When performed with music, dance may or may not be performed in time to the music (synchronous to the music's time signature). All Indian classical dances are to varying degrees rooted in the Natyashastra and therefore share common features: for example, the mudras, some body positions, and the inclusion of dramatic or expressive acting or abhinaya. Indian classical music provides accompaniment and dancers of nearly all the styles wear bells around their ankles to counterpoint and complement the percussion. There are now many regional varieties of Indian classical dance. Dances like "Odra Magadhi", which after decades long debate, has been traced to present day Mithila, Odisha region's dance form of Odissi (Orissi), indicate influence of dances in cultural interactions between different regions. The Punjab area overlapping India and Pakistan is the place of origin of Bhangra. It is widely known both as a style of music and a dance. It is mostly related to ancient harvest celebrations, love, patriotism or social issues. Its music is coordinated by a musical instrument called the 'Dhol'. Bhangra is not just music but a dance, a celebration of the harvest where people beat the dhol (drum), sing Boliyaan (lyrics) and dance.It developed further with the Vaisakhi festival of the Sikhs. The dances of Sri Lanka include the devil dances (yakun natima), a carefully crafted ritual reaching far back into Sri Lanka's pre-Buddhist past that combines ancient "Ayurvedic" concepts of disease causation with psychological manipulation and combines many aspects including Sinhalese cosmology. Their influence can be seen on the classical dances of Sri Lanka. Ballet developed first in Italy and then in France from lavish court spectacles that combined music, drama, poetry, song, costumes and dance. Members of the court
nobility took part as performers. During the reign of Louis XIV, himself a dancer, dance became more codified. Professional dancers began to take the place of court amateurs, and ballet masters were licensed by the French government. The first ballet dance academy was the AcadĂŠmie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the first institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well 20th century concert dance brought an explosion of innovation in dance style characterized by an exploration of freer technique. Early pioneers of what became known as modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. The relationship of music to dance serves as the basis for Eurhythmics, devised by Emile Jaques-Dalcroze, which was influential to the development of Modern dance and modern ballet through artists such as Marie Rambert. Eurythmy, developed by Rudolf Steiner and Marie Steiner-von Sivers, combines formal elements reminiscent of traditional dance with the new freer style, and introduced a complex new vocabulary to dance. In the 1920s, important founders of the new style such as Martha Graham and Doris Humphrey began their work. Since this time, a wide variety of dance styles have been developed; see Modern dance. African American dance developed in everyday spaces, rather than in dance studios, schools or companies. Tap dance, disco, jazz dance,swing dance, hip hop dance, the lindy hop with its relationship to rock and roll music and rock and roll dance have had a global influence.
Activity
Form Groups of 8-1 members. Let ten students choose a dance of their choice to interpret creatively with the appropriate costumes.
Lesson 10 Drama and Theater Arts Drama is now commonly used to refer to a genre of film or television which is more serious than comedy. An older meaning of 'drama' was the
specific mode of fiction represented in performance.[1] The term comes from a Greek word meaning action (drama), which is derived from the verb meaning to do or to act. The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BC) by Sophocles are among the masterpieces of the art of drama. A modern example is Long Day's Journey into Night by Eugene O’Neill (1956) The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the weeping face). Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory. The use of "drama" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that the film and television industry and film studies adopted to describe "drama" as a genre within their respective media. "Radio drama" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio. Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese Nō, for example). In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.
Theatre is the branch of performing arts; concerned with acting out stories in front of an audience, using a combination of speech, gesture, music, dance, sound and spectacle. Any one or more of these elements is performing arts. In addition to the
standard narrative dialogue style of plays. Theatre takes such forms as plays, musicals, opera, ballet, illusion, mime, classical Indian dance, kabuki, mummers' plays, improvisational theatre, stand-up comedy, pantomime, and non-conventional or contemporary forms like postmodern theatre, post dramatic theatre, or performance art .
Classical Greek drama Western drama originates in classical Greece The theatrical culture of the citystate of Athens produced three genres of drama: tragedy, comedy, and the satyr play. Their origins remain obscure, though by the 5th century BC they were institutionalized in competitions held as part of festivities celebrating the god Dionysus. Historians know the names of many ancient Greek dramatists, not least Thespis, who is credited with the innovation of an actor ("hypokrites") who speaks (rather than sings) and impersonates a character (rather than speaking in his own person), while interacting with the chorus and its leader ("coryphaeus"), who were a traditional part of the performance of non-dramatic poetry (dithyrambic, lyricand epic). Only a small fraction of the work of five dramatists, however, has survived to this day: we have a small number of complete texts by the tragedians Aeschylus, Sophocles and Euripides, and the comic writers Aristophanes and, from the late 4th century, Menander.. Aeschylus' historical tragedy The Persians is the oldest surviving drama, although when it won first prize at the City Dionysia competition in 472 BC, he had been writing plays for more than 25 years. The competition ("agon") for tragedies may have begun as early as 534 BC; official records ("didaskaliai") begin from 501 BC, when the satyr play was introduced. Tragic dramatists were required to present a tetralogy of plays (though the individual works were not necessarily connected by story or theme), which usually consisted of three tragedies and one satyr play (though exceptions were made, as with Euripides' Alcestis in 438 BC).Comedy was officially recognized with a prize in the competition from 487 to 486 BC. Five comic dramatists competed at the City Dionysia (though during the Peloponnesian War this may have been reduced to three), each offering a single comedy. Ancient Greek comedy is traditionally divided between "old comedy" (5th century BC), "middle comedy" (4th century BC) and "new comedy" (late 4th century to 2nd BC)
Classical Roman drama
Following the expansion of the Roman Republic (509–27 BC) into several Greek territories between 270–240 BC, Rome encountered Greek drama. From the later years of the republic and by means of the Roman Empire (27 BC-476 AD), theatre spread west across Europe, around the Mediterranean and reached England; Roman theatre was more varied, extensive and sophisticated than that of any culture before it. While Greek drama continued to be performed throughout the Roman period, the year 240 BC marks the beginning of regular Roman drama. From the beginning of the empire, however, interest in full-length drama declined in favour of a broader variety of theatrical entertainments. The first important works of Roman literature were the tragedies andcomedies that Livius Andronicus wrote from 240 BC. Five years later, Gnaeus Naevius also began to write drama. No plays from either writer have survived. While both dramatists composed in both genres, Andronicus was most appreciated for his tragedies and Naevius for his comedies; their successors tended to specialise in one or the other, which led to a separation of the subsequent development of each type of drama. By the beginning of the 2nd century BC, drama was firmly established in Rome and a guild of writers (collegium poetarum) had been formed. The Roman comedies that have survived are all fabula palliata (comedies based on Greek subjects) and come from two dramatists: Titus Maccius Plautus (Plautus) and Publius Terentius Afer (Terence). In re-working the Greek originals, the Roman comic dramatists abolished the role of the chorus in dividing the drama into episodes and introduced musical accompaniment to its dialogue(between one-third of the dialogue in the comedies of Plautus and two-thirds in those of Terence). The action of all scenes is set in the exterior location of a street and its complications often follow from eavesdropping. Plautus, the more popular of the two, wrote between 205 and 184 BC and twenty of his comedies survive, of which his farces are best known; he was admired for the wit of his dialogue and his use of a variety of poetic meters. All of the six comedies that Terence wrote between 166 and 160 BC have survived; the complexity of his plots, in which he often combined several Greek originals, was sometimes denounced, but his doubleplots enabled a sophisticated presentation of contrasting human behaviour No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians—Quintus Ennius, Marcus Pacuvius and Lucius Accius. From the time of the empire, the work of two tragedians survives—one is an unknown author, while the other is the Stoic philosopher Seneca. Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from Greek originals); his Phaedra, for example, was based on Euripides' Hippolytus. Historians do not know who wrote the onlyextant example of the fabula praetexta (tragedies based on Roman
subjects), Octavia, but in former times it was mistakenly attributed to Seneca due to his appearance as a character in the tragedy. Medieval In the Middle Ages, drama in the vernacular languages of Europe may have emerged from religious enactments of the liturgy. Mystery plays were presented on the porch of the cathedrals or by strolling players on feast days. Miracle and mystery plays, along with moralities and interludes, later evolved into more elaborate forms of drama, such as was seen on the Elizabethan stages. Elizabethan and Jacobean One of the great flowerings of drama in England occurred in the 16th and 17th centuries. Many of these plays were written in verse, particularly iambic pentameter. In addition to Shakespeare, such authors as Christopher Marlowe, Thomas Middleton, and Ben Jonson were prominent playwrights during this period. As in the medieval period, historical plays celebrated the lives of past kings, enhancing the image of the Tudor monarchy. Authors of this period drew some of their storylines from Greek mythology and Roman mythology or from the plays of eminent Roman playwrights such as Plautus and Terence. Modern and postmodern The pivotal and innovative contributions of the 19th-century Norwegian dramatist Henrik Ibsen and the 20th-century German theatre practitioner Bertolt Brecht dominate modern drama; each inspired a tradition of imitators, which include many of the greatest playwrights of the modern era. The works of both playwrights are, in their different ways, both modernist and realist, incorporating formal experimentation, meta-theatricality, and social critiqueIn terms of the traditional theoretical discourse of genre, Ibsen's work has been described as the culmination of "liberal tragedy", while Brecht's has been aligned with an historicised comedy. Other important playwrights of the modern era include Antonin Artaud, August Strindberg, Anton Chekhov, Frank Wedekind, Maurice Maeterlinck, Federico García Lorca, Eugene O'Neill, Luigi Pirandello, George Bernard Shaw, Ernst Toller, Vladimir Mayakovsky, Arthur Miller, Tennessee Williams, Jean Genet, Eugène Ionesco, Samuel Beckett, Harold Pinter,Friedrich Dürrenmatt, Dario Fo, Heiner Müller, and Caryl Churchill.
FORMS OF DRAMA Opera Western opera is a dramatic art form, which arose during the Renaissance in an attempt to revive the classical Greek drama tradition in which both music and theatre were combined. Being strongly intertwined with western classical music, the opera has undergone enormous changes in the past four centuries and it is an important form of theatre until this day. Noteworthy is the huge influence of the German 19th-century composer Richard Wagner on the opera tradition. In his view, there was no proper balance between music and theatre in the operas of his time, because the music seemed to be more important than the dramatic aspects in these works. To restore the connection with the traditional Greek drama, he entirely renewed the operatic format, and to emphasize the equal importance of music and drama in these new works, he called them "music dramas". Chinese opera has seen a more conservative development over a somewhat longer period of time. Pantomime These stories follow in the tradition of fables and folk tales. Usually there is a lesson learned, and with some help from the audience, the hero/heroine saves the day. This kind of play uses stock characters seen in masque and again commedia dell'arte, these characters include the villain (doctore), the clown/servant (Arlechino/Harlequin/buttons), the lovers etc. These plays usually have an emphasis on moral dilemmas, and good always triumphs over evil, this kind of play is also very entertaining making it a very effective way of reaching many people. Creative drama Creative drama includes dramatic activities and games used primarily in educational settings with children. Its roots in the United States began in the early 1900s. Winifred Ward is considered to be the founder of creative drama in education, establishing the first academic use of drama in Evanston, Illinois.
Activity
1. Read a Shakespearean play.
2. Form groups 3. 3. Reenact a scene from the play.
UNIT III– PHYSICAL EDUCATION Lesson 1 Philippine Physical Fitness Test PART I – PHYSICAL FITNESS COMPONENTS
1. NUTRITIONAL FITNESS: BODY MASS INDEX (BMI) ________ ________ CLASSIFICATION________ ________
*
WEIGHT _________ Kilograms _________ Kilograms
*
HEIGHT ___________ Meters ___________ Meters
2. MUSCULAR FITNESS
*
PARTIAL CURL UPS ___________
* 90-DEGREE PUSH-UPS ________
3. FLEXIBILITY FITNESS
* TRUNK LIFT _________ Centimeters
*
SIT AND REACH:
Left Leg Bent
_______ Centimeters
Right Leg Bent _______ Centimeters
*
SHOULDER FLEXIBILITY:
Right Arm Up _________ Centimeters Left Arm Up
_________ Centimeters
4. PHYSIOLOGICAL FITNESS
*
ACTIVITY: __________________ TIME: ________________
EVALUATION: ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________
PART II – SPORTS TALENT COMPONENTS
1. ANTHROPOMETRICS *
SITTING HEIGHT _____________ Centimeters
*
ARM SPAN_______________ Centimeters
2. MUSCULAR POWER *
STANDING LONG JUMP ___________ Meters
*
BASKETBALL PASS ____________Meters
3. SPEED *
ACTIVITY: _______________
TIME: __________
EVALUATION:__________________________________________________________ ______________________________________________________________________ ______________________________________________________________________
DATE TESTED: First Time: ____________
Second Time: _________________
Lesson 2 Components of Physical Fitness 1. Muscular Strength This is the "power" that helps you to lift and carry heavy objects. Without muscular strength, your body would be weak and unable to keep up with the demands placed upon it. The way to increase strength is to train with heavy weights, working in the 4 - 6 or 12 15 rep ranges. The heavier the weight, the fewer reps you should perform! 2. Muscular Endurance Endurance is the ability of your muscles to perform contractions for extended periods of time. Rather than just lifting or carrying something for a few seconds, the muscles are used for minutes. The way to increase strength is to train with light weights, working in the 20 - 25 rep range. Working with lighter weight will train the muscle fibers needed for muscular endurance, and the higher rep range leads to a longer period of exercise. 3. Cardiovascular Endurance Cardiovascular endurance is your body's ability to keep up with exercise like running, jogging, swimming, cycling, and anything that forces your cardiovascular system (lungs, heart, blood vessels) to work for extended periods of time. Together, the heart and
lungs fuel your body with the oxygen needed by your muscles, ensuring that they have the oxygen needed for the work they are doing. The Cooper Run (running as far as possible in 12 minutes) is a test commonly used to assess cardiovascular endurance, but many trainers use the Step Test (stepping onto a platform for 5 minutes). Both are accurate measures of a subject'scardiovascular endurance. 4. Flexibility Flexibility is one of the most important, yet often overlooked, components of physical fitness. Without flexibility, the muscles and joints would grow stiff and movement would be limited. Flexibility training ensures that your body can move through its entire range of motion without pain or stiffness. To test your flexibility, lean forward and try to touch your toes. Those with good flexibility will usually be able to touch their toes, while those with limited flexibility will not. The sit and reach test (sitting on the floor and reaching toward your toes) is another good way to assess your flexibility. The more flexible you are, the closer you will come to touching your toes and beyond. 5. Body Fat Composition Body fat composition refers to the amount of fat on your body. For example, a 100pound person with a 25% body fat composition will have a lean body mass of 75 pounds.
Activity
Identify if the element is a health-related component of physical fitness or a skill-related component. Write on the blanks HR for health-related and SR for skillrelated.
______1. Agility ______2. Cardiovascular endurance ______3. Balance ______4. Flexibility
______5. Coordination ______6. Muscular endurance ______7. Speed ______8. Muscular strength ______9. Power ______10. Reaction time
Lesson 3 Physical Fitness Program Physical fitness is measurement of the performance of your lungs, heart and muscles both during exercise and while at rest. An exercise routine designed to increase or maintain your performance in these areas is commonly known as a physical fitness program. Following this type of program for life can seriously lower your risks for a number of chronic health conditions. Understanding Fitness You are physically fit if you can perform everyday tasks easily and have plenty of energy left over for leisure activities and physically demanding emergency situations, according to the President’s Council on Physical Fitness and Sports. Typically, fit individuals have superior endurance and lower stress levels when compared to unfit individuals. Basic factors that influence your fitness potential include your age, genetic inheritance, gender, eating patterns and level of exercise. A physical fitness program uses exercise as a means of utilizing your innate physical potential. Fitness Components The President’s Council lists specific components of physical fitness that include muscular strength and cardiovascular endurance, which describes your heart and lungs’ ability to deliver oxygen and nutrients efficiently and remove waste products for an
extended period of time. Additional components of fitness include joint and muscle flexibility and muscular endurance, which describes your ability to use your muscles for repeated or sustained tasks. Your physical fitness is also indicated by your body’s ratio of lean mass to fat. Adult Fitness If you are an adult between the ages of 18 and 64, the Centers for Disease Control and Prevention (CDC) recommend a number of steps to achieve a baseline level of physical fitness. Begin by performing at least 150 minutes a week of a moderate-intensity aerobic activity, such as bicycling or brisk walking. In addition, perform a strength-building exercise, such as weightlifting or push-ups, at least twice a week. To achieve greater levels of fitness, you can increase your weekly amount of moderate-level aerobics or perform 150 minutes a week of a high-intensity activity, such as running or jogging. If you are 65 or older, your parameters for exercise are essentially the same as those for younger adults. Teen and Child Fitness To achieve baseline physical fitness, teenagers and children need at least one hour of activity per day, the CDC reports. Most of this activity should come in the form of moderate-intensity aerobic exercises. However, at least three days a week, your child should participate in a more vigorous form of aerobic exercise. He should also perform a strength-building activity, such as push-ups or gymnastics, at least three days a week. In addition, your child will need to engage in an activity that builds bone strength at least three times a week. Examples here include running and jumping rope. Considerations Healthy adults under the age of 35 are typically free to start a physical fitness program, the President’s Council notes. However, individuals over 35, habitually inactive individuals and those under 35 with known health conditions will need to speak with their doctors before beginning an exercise program. Ailments that can alter your exercise program include hypertension, arthritis, frequent dizziness and heart disease. Consult your doctor if you have any doubts about your health status.
Lesson 4 La Cucaracha Lesson Review
La Cucaracha is one of the famous dances of Mexico. The crossed waltz, three-step turn, and the waltz balance are the dance steps
used in La Cucaracha. The dance is ¾ time signature. The dance has seven figures.
Activity
Identify. Write the answers on the blanks. ______1. A Spanish word meaning cockroach. ______2. Time signature of dance. ______3. Number of cross- waltz steps done in place in Figure 1 ______4. Figure where three-step turn is executed ______5. When partners will change places ______6. Figure where the waltz balance is danced ______7. Costume of the girls ______8. Formation used in the dance ______9. Number of divisions of the music
Lesson 5 Minuet
Lesson Review
The minuet was one of the most celebrated dances of the seventeenth century. The minuet was the ―Queen of Dances‖ during the reign of King Louis XIV. Louis Recourt made minuet the first dance to court in France.
The minuet, Wally balance, three-step turn, step swing, and grapevine were the dance steps used in the minuet.
Activity
Identify. Write the answers on the blanks. ______1. Time signature of music for the minuet. ______2. Figure where the three step turn is executed ______3. Number of figures of the minuet dance ______4. Costume for the minuet dance ______5. Division of music of the minuet ______6. Fundamental dance steps ______7. The monarch who danced the minuet. ______8. Made minuet the first dance of court in France ______9. Country where minuet became a popular dance ______10. Came up with the ―Code of Etiquette at Bath‖
Lesson 6 Waltzing Matilda (Australia)
Lesson Review
―Waltzing Matilda‖ is a simple, lively joyous dance typical of the longways country
dances of Australia. The skip steps and side schottische are the dance steps used in ―Waltzing
Matilda‖ Music of the dance has two parts in 4/4 time signature. A set of four couples in a contra formation of the dance.
Activity
Identify. Write the answers on the blanks. ______1. Country of origin of waltzing Matilda. ______2. Fundamental dance steps used in the dance. ______3. Time signature of the music of the dance. ______4. Number of figures in the dance. ______5. Formation of the dance. ______6. Parts of music of the dance.
Lesson 7 Handkerchief Dance (Ukrainian)
Lesson Review
ď ś The Handkerchief Dance is an Ukranian dance. The walking steps, buzz turn,
pas de Basque, and reverse toe – heel, and touch-hop are the dance steps used. Music is divided into two parts in 2/4 time signature. Couples in a single circle make up the formation of the dance. There are nine figures in the dance.
Activity
Identify. Write the answers on the blanks. ______1. Country of origin of the Handkerchief Dance ______2. Number of figures of the dance. ______3. Time signature of the music of the dance. ______4. Formation of the dance. ______5. ______6. ______7. ______8. ______9.
Dance steps used
Lesson 8 Danish Dance of Greeting Lesson Review
―The Danish Dance of Greeting‖ is a simple dance of the Danes or Danish
people. The Danes are kindly, helpful and friendly.
Activity
Identify. Write the answers on the blanks.
______1. Country where the dance originated ______2. The fundamental dance steps used ______3. Number of figures of the dance ______4. Time signature of the dance ______5. Formation of the dance ______6. Division of the music of the dance ______7. Number of counts in a measure
Lesson 9 Table Tennis Table tennis, also referred to as ping pong, is a sport in which two or four players hit a lightweight ball back and forth across a table using a small, round bat. The game takes place on a hard table divided by a net. Except for the initial serve, players must allow a ball played toward them only one bounce on their side of the table and must return it so that it bounces on the opposite side. Points are scored when a player
fails to return the ball within the rules. Play is fast and demands quick reactions. Spinning the ball alters its trajectory and limits an opponent's options, giving the hitter a great advantage. When doing so the hitter has a better chance of scoring if the spin is successful. Table tennis is governed by the worldwide organization International Table Tennis Federation, founded in 1926. ITTF currently includes 220 member associations. The table tennis official rules are specified in the ITTF handbook Table tennis has been an Olympic sport since 1988, with several event categories. In particular, from 1988 until 2004, these were: men's singles, women's singles, men's doubles and women's doubles. Since 2008, a team event has been played instead of the doubles.
Equipments Ball
Assortment of 40 mm table tennis balls The international rules specify that the game is played with a sphere having a mass of 2.7 grams (0.095 oz) and a diameter of 40 millimetres (1.57 in). The rules say that the ball shall bounce up 24–26 cm (9.4–10.2 in) when dropped from a height of 30.5 cm (12.0 in) onto a standard steel block thereby having a coefficient of restitution of 0.89 to 0.92. The 40 mm ball was introduced after the 2000 Summer Olympics. However, this created some controversy as the Chinese National Team argued that this was merely to give non-Chinese players a better chance of winning since the new type of ball has a slower speed, while at that time most Chinese players were playing with fast attack and smashes. (China won all four Olympic gold medals and three silvers in 2000, and have continued to dominate.) A 40 mm table tennis ball is slower and spins less than the original 38 mm one. The ball is made of a high-bouncing air-filled celluloid or similar plastics material, coloured white or orange, with a matte finish. The choice of ball colour is made according to the table colour and its surroundings. For example, a white ball is easier to see on a green or blue table than it is on a grey table. Manufacturers often indicate the quality of the ball with a star rating system, usually from one to three, three
being the highest grade. As this system is not standard across manufacturers, the only way a ball may be used in official competition is upon ITTF approval. The ITTF approval can be seen printed on the ball.
Table
Diagram of a table tennis table showing the official dimensions The table is 2.74 m (9.0 ft) long, 1.525 m (5.0 ft) wide, and 76 cm (2.5 ft) high with any continuous material so long as the table yields a uniform bounce of about 23 cm (9.1 in) when a standard ball is dropped onto it from a height of 30 cm (11.8 in), or about 77%.The table or playing surface is uniformly dark coloured and matte, divided into two halves by a net at 15.25 cm (6.0 in) in height. The ITTF approves only wooden tables or their derivates. Concrete tables with a steel net or a solid concrete partition are sometimes available in outside public spaces, such as parks. Paddle/racket/bat Players are equipped with a laminated wooden racket covered with rubber on one or two sides depending on the grip of the player. The ITTF uses the term "racket", though "bat" is common in Britain, and "paddle" in the U.S. The wooden portion of the racket, often referred to as the "blade", commonly features anywhere between one and seven plies of wood, though cork, glass fiber, carbon fiber, aluminum fiber, and Kevlar are sometimes used. According to the ITTF regulations, at least 85% of the blade by thickness shall be of natural wood. Common wood types include balsa, limba, and cypress or "hinoki," which is popular in Japan. The average size of the blade is about 6.5 inches (17 cm) long and 6 inches (15 cm) wide. Although the official restrictions only focus on the flatness and rigidness of the blade itself, these dimensions are optimal for most play styles.
Table tennis regulations allow different surfaces on each side of the racket. Various types of surfaces provide various levels of spin or speed, and in some cases they nullify spin. For example, a player may have a rubber that provides much spin on one side of his racket, and one that provides no spin on the other. By flipping the racket in play, different types of returns are possible. To help a player distinguish between the rubber used by his opposing player, international rules specify that one side must be red while the other side must be black. The player has the right to inspect his opponent's racket before a match to see the type of rubber used and what colour it is. Despite high speed play and rapid exchanges, a player can see clearly what side of the racket was used to hit the ball. Current rules state that, unless damaged in play, the racket cannot be exchanged for another racket at any time during a match.
Starting a game According to ITTF rule 2.13.1, the first service is decided by lot normally a coin toss. It is also common for one player (or the umpire/scorer) to hide the ball in one or the other hand (usually hidden under the table), allowing the other player to guess which hand the ball is in. The correct or incorrect guess gives the "winner" the option to choose to serve, receive, or to choose which side of the table to use. (A common but nonsanctioned method is for the players to play the ball back and forth three times and then play out the point. This is commonly referred to as "serve to play", "rally to serve", "play for serve", or "volley for serve".) Service and return In game play, the player serving the ball commences a play. The server first stands with the ball held on the open palm of the hand not carrying the paddle, called the freehand, and tosses the ball directly upward without spin, at least 16 cm (6.3 in) high. The server strikes the ball with the racket on the ball's descent so that it touches first his court and then touches directly the receiver's court without touching the net assembly. In casual games, many players do not toss the ball upward; however, this is technically illegal and can give the serving player an unfair advantage. The ball must remain behind the endline and above the upper surface of the table, known as the playing surface, at all times during the service. The server cannot use his body or clothing to obstruct sight of the ball; the opponent and the umpire must have a clear view of the ball at all times. If the umpire is doubtful of the legality of a service they may first interrupt play and give a warning to the server. If the serve is a clear failure or is doubted again by the umpire after the warning, the receiver scores a point.
If the service is "good", then the receiver must make a "good" return by hitting the ball back before it bounces a second time on receiver's side of the table so that the ball passes the net and touches the opponent's court, either directly or after touching the net assembly. Thereafter, the server and receiver must alternately make a return until the rally is over. Returning the serve is one of the most difficult parts of the game, as the server's first move is often the least predictable and thus most advantageous shot due to the numerous spin and speed choices at his or her disposal. Let A Let is a rally of which the result is not scored, and is called in the following circumstances:
The ball touches the net in service (service), provided the service is otherwise correct or the ball is obstructed by the player on the receiving side. Obstruction means a player touches the ball when it is above or traveling towards the playing surface, not having touched the player's court since last being struck by the player. When the player on the receiving side is not ready and the service is delivered. Player's failure to make a service or a return or to comply with the Laws is due to a disturbance outside the control of the player. Play is interrupted by the umpire or assistant umpire.
A let is also called if the ball hits the servers side of the table if the ball does not pass further than the edge. If the ball hits the table edge and hits the net, it is called a foul serve. Scoring A point is scored by the player for any of several results of the rally:
The opponent fails to make a correct service or return. After making a service or a return, the ball touches anything other than the net assembly before being struck by the opponent. The ball passes over the player's court or beyond his end line without touching his court, after being struck by the opponent. The opponent obstructs the ball. The opponent strikes the ball twice successively. Note that the hand that is holding the racket counts as part of the racket and that making a good return off one's hand or fingers is allowed. It is not a fault if the ball accidentally hits one's hand or fingers and then subsequently hits the racket.
The opponent strikes the ball with a side of the racket blade whose surface is not covered with rubber. The opponent moves the playing surface or touches the net assembly. The opponent's free hand touches the playing surface. As a receiver under the expedite system, completing 13 returns in a rally. The opponent that has been warned by the umpire commits a second offense in the same individual match or team match. If the third offence happens, 2 points will be given to the player If the individual match or the team match has not ended, any unused penalty points can be transferred to the next game of that match.
A game shall be won by the player first scoring 11 points unless both players score 10 points, when the game shall be won by the first player subsequently gaining a lead of 2 points. A match shall consist of the best of any odd number of games. In competition play, matches are typically best of five or seven games.
Activity
Identify. Write the answers on the blanks.
______1. This is the period during which the ball is in play. ______2. It shall come into operation if a game is unfinished after 1 minutes play or at any earlier time at the request of both players or pairs. ______3. He shall sit or stand in line with the net. ______4. It is a rally of which the result is not scored. ______5. It shall consist of the net, its suspension and the supporting posts, including the clamps attaching them to the table. ______6. It is a rally of which the result is scored. ______7. It is the hand carrying the racket. ______8. It was introduced by J. Jacques and Son. ______9. It is the hand not carrying the racket. ______10. It is the upper surface of the table.
Lesson 10 Badminton Lesson Review ―Poona‖ was how badminton was called in India; Battledore in England. The International Badminton Federation, founded in 1934 is the body for
International Cup Events. In 1985, Badminton was accepted as an Olympic medal sport. The World Badminton Federation, founded 1977 sponsored the first World
Championship in Malmo Sweden. The Badminton Association of the Philippines governs Badminton in the
Philippines.
Activity
Write on the blanks true or false.
______1. The shuttle may be made from plastic. ______2. ―Players‖ applies to all those taking part in a match. ______3. The side winning a game serves last in the next game. ______4. A ―let‖ may only the given foreseen or certain occurrences. ______5. The referee is in overall charge of the tournament or event of which a mat form part.
Lesson 11 Officiating Volleyball Games Lesson Review
The playing area/ court should be symmetrical and rectangular measuring 18m x 9m surrounded by a free zone which is a minimum of three wide on all sides. The surface must be flat horizontal and uniform. All lines are 5cm wide. The front zone, service zone and substitution zone are the zones in the playing court. The warm up areas are located in both of the bench side corners, outside the free zone. The spherical ball is made of flexible leather or synthetic leather case with a bladder inside made of rubber or similar material. A volleyball team may consist of a maximum of 12 players, 1 coach, 1 assistant coach, 1 trainer and 1 medical doctor. A player’s equipment consists of a jersey, shorts, socks, and sport shoes. The ―libero‖ is a specialized defensive player. Volleyball game officials are the first referee, second referee, the scorer, the 4 lines men or line judges.
Activity
Fill in the blanks.
1. It is not allowable to play on __________ and 2. surfaces __________. 3. Only a __________ or __________ surfaces is allowed
4. for FIVB World and official competitions. 5. All lines are __________m wide. 6. The height of the net for men is __________m and 7. __________m for women. 8. For FIVB World and official competitions __________ balls will be used. 9. Only __________ are allowed to sit on the bench during the match. 10. The __________ is special defensive player.
Lesson 12 Officiating Basketball Games
Lesson Review
Five players make up a basketball team. Each shot is worth 2 points and shot beyond the 21‖ line is worth 3 points Basketball is regulated by a time of 40 minutes with each 4 period or quarter played for 10 minutes. A team is entitled to 1 time out per period and 2 time outs for the fourth quarter or last period. The referee is called timekeeper and 30 second operator are the officials for basketball. They should be competent and impartial.
Activity
Identify whose responsibility are the following. Write on the blanks R for referee, S for scorer, T for time keeper and O for 30 second operator.
______1. He shall conduct the game in accordance with basketball rules.
______2. His signal causes the ball to become dead. ______3. He records the field goals and free throws made or missed. ______4. He keeps record of playing time and time of stoppage as provided in the rules. ______5. He penalizes a unsportsman-like by any player, coach, assistant coach, substitute or team followers. ______6. He indicates the number of fouls committed by each player by using the numbers markers ______7, he indicates with the bell, the expiration of playing time in each half or extra period. ______8. He operates the 30- second device clock as provided in the rules. ______9. He keeps a record of the names and numbers of players who are to start the game and of all substitutes who enter the game. ______10. He shall blow his whistle and simultaneously give the signal to stop the clock, followed by all signal to make clear his decision.
UNIT IV– HEALTH Lesson 1 Health Assessment Lesson Review At start of the school year, students undergo a health screening test. The school’s medical and dental team composed of the doctor, dentist and nurse handle the comprehensive health assessment of students each school year. Students’ health records contains essential information about the student.
Activity
Write on the blanks the following initials of the screening test recommended for the student exhibiting the following behavior, sign or symptom.
VS – Vision Screening
PC – Posture Check
HW – Height and Weight Screening
NS – Nutrition Screening
DtS – Dental Screening
SS – Speech Screening
HS – Hearing Screening
DS – Development Screening
______1. Stammers during recitations ______2. Eat junk food during recess ______3. Slouches when seating on the desk ______4. Too tall for his age ______5. Cannot see or read well ______6. Noisy in class ______7. Has bad breath ______8. Play alone ______9. Cannot concentrate ______10. Too obese
Lesson 2 The Role of the Home, School and Community in Solving Community Health Problems Lesson Review
Environmental problems brought about by the advances of science and technology are threats to health of the citizens.
It is through the joint efforts of the home, school and community that this environmental maybe addressed. The protection and restoration of the environment starts with the family. The school’s role is to disseminate correct health information and the school becomes the laboratory for the student’s hands-on experiences health knowledge, practices and attitudes. Ordinances on proper waste disposal released by the barangay, municipality and city must be followed by the citizens of a community to avoid diseases or incidents that may pose danger to the people, resources and environment.
Activity
Reflect on how you can become more environmentally aware and proactive. Write two paragraphs on how you can contribute in solving community health problems.
Lesson 3 Reproductive Health Lesson Review
Reproductive health is defined as state of complete physical, mental and social well-being and not merely the absence of disease of infirmity in all matters relating to the reproductive system and to its functions and processes. Biological, cultural and physiological factors, the status of women, socioeconomic conditions, social and gender issues, family environment, living conditions, education employment, traditional values and culture and legal structures are the determinants of the reproductive health. The components of reproductive health are: family planning; maternal and child health/ nutrition; education and counseling on sexuality and sexual health; men’s
reproductive health; violence against women; prevention and treatment of infertility and sexual disorder, prevention’s of breast and reproductive tract cancers and other gynecological conditions; prevention, control and treatment of reproductive tract infection, prevention of abortion and management of its complication; and adolescent sexual and reproductive health.
Activity
Illustrate the components of reproductive health. You can sketch or cut- out pictures make a flyer.
Lesson 4 Barbiturates
Lesson Review
Depressant are drugs that slow down or reduce the activities of central nervous system. The four main effects of depressant are as sedatives as tranquilizers, as hypnotics and as anesthetics. The trade names of barbiturates usually end with letters ―al‖. Among the reasons for the use of barbiturates are peer pressure, curiosity, and sense of belongingness. The effects of the misuse of barbiturates differ in people.
The side effect of the abuse of barbiturates are changes in the user’s attitudes and behavior and drowsiness. Sleep problems, severe restlessness, nausea, stomach, cramps, vomiting and hallucinations are some of the withdrawal symptoms. Barbiturate overdose causes an individual to lose track of time, to have slow and irregular breathing, reduced heartbeat and loss of consciousness. The Comprehensive Dangerous drugs Act of 2002, also known as Republic Act 9165 defined the role of the government in the prevention and control of drug abuse in the Philippines. The Dangerous drug Board is the national drug policy- making and coordinating council. The drug enforcement arm under RA 9165 is the Philippine Drug Enforcement Agency.
Activity
Research on a kind of barbiturate and its nature and effects on the user.
Lesson 5 Alcohol Lesson Review Alcohol is a depressant drug found in alcoholic beverages. Ethyl alcohol, methyl alcohol, and isopropyl or rubbing alcohol are the kinds of alcohol. Wine, beer, and distilled spirits are the kinds of ethyl alcohol. People differ in their reasons for drinking alcohol. The primary depressant effect of alcohol is seen in the brain and spinal cord.
The factors that influence the absorption of alcohol are the presence of food, body chemistry, strength of the beverage, number of drinks consumed, speed of consumption, and gender. Alcohol has become a part of Filipino’s lifestyle and has even become a status symbol. A variety of social problems is attributed to alcohol abuse.
Activity
Research on one of the kinds of ethyl alcohol: 1. Wine 2. Beer 3. Distilled spirit
Activity
What advice/s can you give to a friend who is an alcoholic?