Eng Narrative Q2 Topic 1

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Quarter 2: Drama Topic 1: Elements, features, and themesof Afro-Asian Drama

Time Frame: 15 days

Stage 1Content Standard:The learner demonstrates understanding of the differentelements, features, and themes of Afro-Asian drama thatprovide insights in producing a dramatic reading of a play.

Performance Standard:The learner interprets a play through an impressive dramatic reading.

Essential Understanding:The elements, features, and themes of Afro-Asian drama provide

insights into the characters’ lives and their relationship with theother characters.

Essential Question:How do the elements, features, and themes of Afro-Asian drama help in

understanding and appreciating a given genre?

Learners will know:

• different features, elements and themes of Afro-Asiandrama.

• the importance of the structure of dialogs and mode ofdelivery in Afro-Asian drama.

• the proper intonation in expressing variety of feelings and

traits in drama• variety of character portrayal

• the correct usage of contrast connectors

• individual strategies in internalizing a role• the different moods and tones of characters

Learners will be able to:

• explain the different features, elements and conventions of Afro-Asiandrama

• examine the features, themes and elements of Afro-Asian drama

• express feelings and traits using proper intonation

• exhibit competencies in doing dramatic reading

• compare and contrast features and themes of various Afro-Asian dramas• identify and assess the elements, features and themes of Afro-Asian

drama using connectors

• infer character traits through the structure of dialog and mode of delivery

• relate drama themes to real life experiences• consider various individual strategies in internalizing a role

• reflect on the moods and tones of the character

Stage 2Product or PerformanceTask

An impressive dramaticreading of a play

Evidence at the level of understandingThe learner should be able to demonstrate understandingcovering the six (6) facets of understanding.

Evidence at the level of performanceThe learner performs an impressive

dramatic reading of a play based on thefollowing criteria:• audibility



Explanation

• Discuss the elements, features, and themes of Afro-Asiandrama

Interpretation• Analyze how the elements, features, and themes of Afro-

Asian drama provide understanding of the genre • Make sense of the dialogs used in the Afro-Asian drama

• Illustrate authenticity of context and characterization

through text revalidationApplication

• Use proper intonation in expressing variety of feelings andtraits in a drama

• Exhibit competencies in using audible cues (pitch, stress,diction, accent, etc.) in doing a dramatic reading

Perspective

• Compare and contrast features, and themes of variousAfro-Asian drama

•

Infer character traits through the structure of dialog andmode of delivery

Empathy

• Relate drama themes in real life experiences

• Consider various individual strategies in internalizing a rolefor a dramatic reading

Self-knowledge

• Reflect on the moods and tones of the characters

• tone of voice

• phrasing• stress patterns

• diction

• pronunciation

• vocal variety

• pauses



Teaching/Learning Sequence:1. EXPLORE

Suggested Activities:

Dream Vacation

• Ask the students to form groups of five.

• Deliberate within the group a tourist spot they would like to visit on summer.

• Once they are done, ask them to integrate the following stimulus as they enjoy the vacation.

• Be specific on their course of actions.

Stimulus:- Someone lost his wallet.- Someone is missing.- There is no signal in the area.- A group member has high fever.

• Use this activity as motivation.

At this stage, the teacher should be able to do the following: • Make the learners aware of the desired result that is, for him /her to demonstrate understanding of the different features,

elements, and themes of Asian drama to facilitate comprehension and appreciation for Afro-Asian drama

• Take up with the students the essential question” How do the elements, features, and themes of Afro-Asian drama help in understanding and appreciating the genre?” and make them answer the question based on their experiences and cue them into the big ideas to explore.

• Allow the students to explain their answer to the EQ by way of giving examples or situations they have observed, witnessed or experienced.

• Use non-formative assessment to check/evaluate learners’ readiness and competence on the prerequisite skills to the tasks at hand.

• Inform the students of their topic culminating performance which is an impressive dramatic reading of a play.

Stage 3



My pet fish of terms• Group the class into five.• Ask them to look at the fishbowl below.

• Ask each group to find at least five fishes (terms) they are familiar with and give short description of each using any kitchen

utencil as a graphic organizer. Use this activity as springboard to activating prior knowledge.

Impress Upon a Picture

• Present the pictures below to the class.

• Ask the class to give their impressions on the production play they have seen on the picture• Group the class into five and let them discuss their impression/s with their group mates.

• Let them present their group impressions through semantic webbing.



Shakuntala Ramayana Noh Miss Saigon Flower Drum Song

Of rituals and practice


• Have them research on African and Asian rituals.

• Instruct them to find topics with the following themes:Group 1 – wedding Group 2 – baptism Group 3 – rain dance Group 4 – birthdays Group 5 – Healing

• Activate the prior knowledge of the students about Asian Drama by asking them of any instances in their lives when they

encounter anything about Asian drama.

• Process the activity using the following questions:- What do the rituals tell you?- How are these rituals related to drama?- In what aspects do they represent drama?- What realities about drama do these rituals reveal?

• Use this activity as springboard to Essential Question/s.• Make the learners answer the Essential Question/s.

• Inform them of their major output, that is, an impressive dramatic reading of a play based on a given set of criteria.



FIRM UP

Listen to What I Hear

• As a pre-assigned task, group the students into five and look for a copy of the following folk music from India. 1. Bauls2. Bhangra3. Dandiya4. Ganasangeet5. Lavani

• Once in class, let them play the music. • Ask them what they have remembered or recall about what they have listened to.

• Allow them to describe how they feel while listening to the music assigned to the group.

Follow the thread

• Ask the students to form groups of five. • Present the following stages in the development of the Indian play Ramayana.

•

Allow them to read the text that follow. • Formulate questions to check understanding.

• Provide feedback.

At this stage, the teacher should be able to do the following: • Make the learners illustrate or crystallize their knowledge of Asian drama through their description of unique

features, elements, plot, story line and the dominant theme of Afro-Asian drama

• Engage them in meaningful and challenging activities that will enrich what they have learned.

• Engage them in varied activities that will make them reflect, revise and rethink their understanding of the elements, features and themes of Afro-Asian drama.

• Provide feedback to check for understanding.



Characters in Motion

• Ask the students to form groups of five.• Let them identify the characters from the play “Ramayana”.

• Ask them to single out particular traits from each character and tell them to identify weather the trait is a strength or a weakness and howthe trait was revealed in the play.

Character Trait Strength Weakness How the trait was

revealed in the play.

The conflict is...


• Let them identify the conflict from the play “Ramayana”.• Ask them to express, through a graphic organizer, how the conflict shaped the course of the play and how it was resolved.

• Refer to the sample organizer below.



Dream Theme


• Let them identify the theme of the play “Ramayana” • Process the activity by asking the following questions:

1. What is the theme of the play “Ramayana” 2. What details lead you to identifying the theme? 3. How is this theme different to other theme of dramas you can see on television? 4. What does this reveal about Afro-Asian plays?

5. How does the theme affect you as an individual? 6. Were you able to relate an experience, a thought or a personal feeling with the play? 7. What does this imply?

How the

characters

dealt with it.

How it shaped

the flow of the

play

resolution

conflict



Standing Ovation

• Below are common audiences.

• Ask the students to remain in their respective groups and identify the target audience of the play “Ramayana” and justify.

Group Identify and JustifyAccording to age group

According to personality (silent, outgoing etc)According to profession (if there’s any)According to interestAccording to citizenship

Dialogue

• Present to the class a 3d video of “Ramayana Play” accessible through this link : http://video.in.msn.com/watch/video/ramayana-the-epic-dialogue-promo/fcrcw59m?from=truveo

• Ask the students to select their favorite lines or dialogues from the play.

• Working in pairs, ask the students to share answers.• Process the activity using the following questions:

1. Why did you choose the dialogue?2. In what way do these dialogues reflect yours and your partner’s real life experiences?3. What does this reveal about dialogues as an element of Afro-Asian drama?

Drama Research• Divide the class into four groups such as:

Group 1: Chinese Drama Group 2: Japanese Drama Group 3: Philippine Drama Group 4: Drama of other Asian country

• Instruct the class to have further readings/research on the distinct features of Afro-Asian drama assigned to them.



Chinese

Drama

Japanese

Drama

Indian

Drama

• Remind them to be creative in presenting their report.

• Have the class present their research about the distinct features of Afro-Asian drama.• Ask the class to internalize the importance of learning the distinct features of Afro-Asian drama.

• Instruct the class to compare and contrast Afro-Asian drama using mind maps.

• Let them report their outputs to the class; have them observe the correct use of connectors

• Have the class observe the format below. Indian drama uses ______________ while Chinese drama practices _____________ in the play presentation. Japanese drama usually has _____________ performers while Indian drama has _________ performers.

• Provide feedback.

• Let the class reflect on the unique features of Afro-Asian drama.

• Instruct them to write a reflective essay on the impact of knowing the different features of Afro-Asian drama to them.



DEEPEN

What Would you do if…?• Divide the class into four groups.

• Provide them with real-life situations and let them decide an action if they were in those situations. choosing between father and a boyfriend letting go a friend due to some conflicts staying away from peers due to family pressure deciding between your loved one and a newly found faith/religion

• Allow each group to have ample time to discuss their actions on the chosen situation.

• Instruct the class to present their out puts.

At this stage, the teacher should be able to do the following:

• Provide the students with thought provoking questions that will make them reflect, rethink, and revise their assumptions about the unique features of Afro-Asian drama

• Address the learners’ uniqueness, their strength and weaknesses by providing them with differentiated instruction as needed.

• Expose the students to the correct connectors in making comparison and contrast

• Engage them in meaningful, challenging and differentiated activities that will reinforce what they have

learned about Afro-Asian drama.• Engage them in meaningful self evaluation.

• Provide feedback for understanding.



Getting into the Selection• Group the class into five.

• Provide each group with a summary of the play “Shakuntala”.

• Unlock some vocabulary words found in the selection. Ask the students to choose the word from the pool which means the same as the word/words in parentheses.

(1) An __________ (abode, refuge) is the home of the family – the basic unit of society. It is from the family that individualscome to birth and it is within the family that they find the first school of the social virtues that are important to build a society. (2) __________ (obviously) parents are the first teachers.

Every child is a gift to its brothers, sisters, parents and entire family. They say a good child is a (3) _________ (wreath offlowers) that brings honor to the parents while a black sheep is a (4) __________ (damantion, but nevertheless, the child is lovedand cared for.

In most cases the family (5) _________ (announces) progress and strives to contribute to national development. Familymembers don’t (6) __________ (waver) to pursue fields of endeavor that would bring them honor and glory. Take for example thepolitical (7) _________ (ancestry lines of hereditary rules) we have in the country.

Shakuntala: A Summary

In Hindu mythology Shakuntala is considered to be the mother of Emperor Bharata and the wife of Dushyanta who was the founder of the Paurav

vansha (Paurav Dynasty). Shakuntala was born of Vishvamitra and Menaka. Rishi Kanva found her in the forest surrounded and protected by

birds (Shakunton in Sanskrit), so she was named Shakuntala.

Once, while out on a hunt with his army, Dushyanta passed through a forest full of bilv, ark, khadir, kapith, dahv etc. trees. The forest undulated

with interspered rocky hillocks and extended over several yojanas and there was no trace of any man. It was full of wildlife.

heralds curse

hesitate ashram

apparently dynasty

garland blurs



and lions and counting their teeth!

Meanwhile, a fisherman was surprised to find a royal ring in the belly of a fish he had caught. Recognizing the royal seal, he took the ring to the

palace and, upon seeing his ring, Dushyanta's memories of his lovely bride came rushing back to him. He immediately set out to find her and,

arriving at her father's ashram, discovered that she was no longer there. He continued deeper into the forest to find his wife and came upon a

surprising scene in the forest: a young boy had pried open the mouth of a lion and was busy counting its teeth! The king greeted the boy, amazed

by his boldness and strength, and asked his name. He was surprised when the boy answered that he was Bharata, the son of King Dushyanta. The

boy took him to Shakuntala, and thus the family was reunited.

In the Mahabharata, a slightly different version of this tale is told, where Dushyanta's failure to recognise Shakuntala is in fact a ploy to have hissubjects accept her as his true wife, since he had feared rumors might otherwise have arisen as to the propriety of the marriage.

Interacting with text• Engage the class in an active-knowledge sharing activity

Provide a list of questions pertaining to the selection. What kind of a father is Kanva? How is he similar to most fathers nowadays? Describe Shakuntala as a daughter, as a sister and as a friend.

Describe the relationship of Shakuntala towards the servants. What Indian traditions and culture are mentioned in the play? Relate these to Filipino traditions and culture.

Ask the students to answer the questions the best that they can. • Ask volunteers in the class who have answered all the questions

• Give feedback.

Comparison and Contrast Activity

• Divide the class according to the distinct characters in the play “Shakuntala”.

• Encourage them to use connectors properly when making comparison and contrast.

• Introduce to the class the correct usage of connectors when making comparison and contrast.

• Use a spring board like a dialogue or a paragraph to introduce the lesson on connectors.• Let the class study the sample sentences using connectors.



Placing it all together

1. Read the story “The Calabash Kids: A Tale from Tanzania” retold by Aaron Shepard.2. Identify the elements of the Afro-Asian Drama incorporated in this play.

“The Calabashi Kids”

NARRATOR 1: Once there was a woman named Shindo, who lived in a village at the foot of a snow-capped mountain.

NARRATOR 4: Her husband had died, and she had no children, so she was very lonely.

NARRATOR 2: And she was always tired too, for she had no one to help with the chores.

NARRATOR 3: All on her own, she

NARRATOR 1: cleaned the hut,

NARRATOR 4: cleaned the yard,

NARRATOR 2: tended the chickens,

NARRATOR 3: washed her clothes in the river,

Examples:1. Henry speaks loudly while Larry speaks softly.2. Gene faces the audience but she lacks eye to eye contact with the audience; however his voice is very

clear.3. Ellen looks shy in her movements yet she delivers her line properly.



NARRATOR 1: carried water,

NARRATOR 4: cut firewood,

NARRATOR 2: and cooked her solitary meals.

NARRATOR 3: At the end of each day, Shindo gazed up at the snowy peak and prayed.

SHINDO: Great Mountain Spirit! My work is too hard. Send me help!

NARRATOR 1: One day, Shindo was weeding her small field by the river, where she grew vegetables and bananas and gourds. Suddenly, a

noble chieftain appeared beside her.

CHIEFTAIN: I am a messenger from the Great Mountain Spirit.

NARRATOR 4: He handed the astonished woman some gourd seeds.

CHIEFTAIN: Plant these carefully. They are the answer to your prayers.

NARRATOR 2: Then the chieftain vanished.

SHINDO: (skeptically, looking at the seeds in her hand) What help could I get from a handful of seeds?

NARRATOR 3: Still, she planted and tended them as carefully as she could.

NARRATOR 1: Shindo was amazed at how quickly the seeds grew. In just a week, long vines trailed over the ground, and ripe gourds hung

from them.



NARRATOR 4: Shindo brought the gourds home, sliced off the tops, and scooped out the pulp. Then she laid the gourds on the rafters

of her hut to dry.

NARRATOR 2: When they hardened, she could sell them at the market as calabashes, to be made into bowls and jugs.

NARRATOR 3: One fine gourd Shindo set by the cook fire. This one she wanted to use herself, and she hoped it would dry faster.

NARRATOR 1: The next morning, Shindo went off again to tend her field.

NARRATOR 4: But meanwhile, back in the hut,

NARRATOR 2: the gourds began to change.

NARRATOR 3: They sprouted heads,

NARRATOR 1: then arms,

NARRATOR 4: then legs.

NARRATOR 2: Soon they were not gourds at all.

NARRATOR 3: They were—

ALL NARRATORS: children!

NARRATOR 1: One boy lay by the fire, where Shindo had put the fine gourd.

NARRATOR 4: The other children called to him from the rafters.



CHILDREN:

Ki-te-te, come help us!

We’ll work for our mother.

Come help us, Ki-te-te,

Our favorite brother!

NARRATOR 2: Kitete helped his brothers and sisters down from the rafters.

NARRATOR 3: Then the children started quickly on the chores.

CHILD 1: Clean the hut!

CHILD 2: Clean the yard!

CHILD 3: Feed the chickens!

CHILD 4: Wash the clothes!

CHILD 5: Carry water!

CHILD 6: Cut the wood!

CHILD 7: Cook the meal!

NARRATOR 1: All joined in but Kitete.

NARRATOR 4: Drying by the fire had made the boy slow-witted. So he just sat there, smiling widely.



NARRATOR 2: When the work was done, Kitete helped the others climb back on the rafters.

NARRATOR 3: Then they all turned again into gourds.

NARRATOR 1: That afternoon, as Shindo returned home, the other women of the village called to her.

WOMAN 1: Who were those children in your yard today?

WOMAN 2: Where did they come from?

WOMAN 3: Why were they doing your chores?

SHINDO: (angrily) What children? Are you all making fun of me?

NARRATOR 4: But when she reached her hut, she was astounded.

NARRATOR 2: The work was done, and even her meal was ready!

NARRATOR 3: She could not imagine who had helped her.

NARRATOR 1: The same thing happened the next day. As soon as Shindo had gone off, the gourds turned into children,

NARRATOR 4: with heads

NARRATOR 2: and arms

NARRATOR 3: and legs.



NARRATOR 1: The ones on the rafters called out,

CHILDREN:





NARRATOR 4: Kitete helped them down, and they did all the chores.








NARRATOR 2: Then they climbed back to the rafters, and turned again into gourds.

NARRATOR 3: Once more, Shindo came home and was amazed to see the work all done. But this time, she decided to find out who were



her helpers.

NARRATOR 1: The next morning, Shindo pretended to leave, but she hid beside the door of the hut and peeked in. And so she saw the

gourds turn into children,

NARRATOR 4: with heads

NARRATOR 2: and arms

NARRATOR 3: and legs.

NARRATOR 1: And she heard the ones on the rafters call out,

CHILDREN:


We’ll work for our mother.Come help us, Ki-te-te,


NARRATOR 4: Kitete helped them down. As the children rushed out the door, they nearly ran into Shindo.

NARRATOR 2: She was too astonished to speak, and so were the children. But after a moment, they went on with their chores.










NARRATOR 3: When they were done, they started to climb back to the rafters.

SHINDO: (urgently) No, no! You must not change back into gourds! You will be the children I never had, and I will love you and care for

you!

* * *

NARRATOR 1: So Shindo kept the children as her own.

NARRATOR 4: She was no longer lonely.

NARRATOR 2: And the children were so helpful, she soon became rich, with many fields of vegetables and bananas, and flocks of sheep

and goats.

NARRATOR 3: That is, all were helpful but Kitete, who stayed by the fire with his simple-minded smile.

NARRATOR 1: Most of the time, Shindo didn’t mind.



NARRATOR 4: In fact, Kitete was really her favorite, because he was like a sweet baby.

NARRATOR 2: But sometimes, when she was tired or unhappy about something else, she would get annoyed and yell at him.

SHINDO: You useless child! Why can’t you be smart like your brothers and sisters, and work as hard as they do?

NARRATOR 3: Kitete would only grin back at her.

NARRATOR 1: One day, Shindo was out in the yard, cutting vegetables for a stew. As she carried the pot from the bright sunlight into

the hut, she tripped over Kitete.

NARRATOR 4: She fell, and the clay pot shattered. Vegetables and water streamed everywhere.

SHINDO: (getting up, screaming at him) Stupid boy! Haven’t I told you to stay out of my way? (derisively) But what can I expect? You’re

not a real child at all. You’re nothing but a calabash!

NARRATOR 2: The very next moment, Kitete was no longer there.

NARRATOR 3: In his place was a gourd.

SHINDO: (shrieking) What have I done? I didn’t mean what I said! You’re not a calabash, you’re my own darling son!

NARRATOR 1: The other children came crowding into the hut.

SHINDO: Oh, children, please do something!

NARRATOR 4: They looked at each other a moment.



NARRATOR 2: Then over each other they climbed, scampering up to the rafters.

NARRATOR 3: When the last child had been helped up by Shindo, they called out one last time,

CHILDREN:




OUR FAVORITE BROTHER!

NARRATOR 1: For a long moment, nothing happened.

NARRATOR 4: Then slowly,

NARRATOR 2: the gourd began to change.

NARRATOR 3: It sprouted a head,

NARRATOR 1: then arms,

NARRATOR 4: then legs.

NARRATOR 2: At last, it was not a gourd at all.

NARRATOR 3: It was—

SHINDO & CHILDREN: (shouting happily, as SHINDO hugs him) KITETE!



* * *

NARRATOR 1: Shindo learned her lesson.

NARRATOR 4: Ever after, she was very careful what she called her children.

NARRATOR 2: And so they gave her comfort and happiness,

NARRATOR 3: all the rest of her days.

Characters on the lose

• Allow students to choose a character from the play “CalabashiKids”.

• Ask them to imagine this character to turn his/her weaknessinto strength.

•

Process the activity by asking relevant questions.• Also, pick out two characters and two situations from the play.

• Compare and contrast the characters and the situations usingthe following connectors.

The Anatomy of Calabashi

• Group the class into five.

• Ask them to think of an organizer that would best assort the elements of the play “The Calabashi Kids”.• Require them to supply the organizer with the correct answers.

• Let a representative present the group’s output in front of the class.



Beautiful Mind

• Ask the students to respond to the following questions: If you are the author of “Calabashi Kids”, what would have been your inspiration in writing the play? What would you want to express? Who would have been represented by the characters?

How were the situations in the play related to your personal encounters?

• Give feedback.

• Check the learners’ mastery of the essential understanding and the content standard.

1. TRANSFER

Group Presentation

• Divide the class into five groups and assign one drama from any of the Asian countries.Group 1: Chinese dramaGroup 2: Indian dramaGroup 3: Japanese drama

Group 4: Philippine dramaGroup 5: Any other Asian drama

• Ask them to interpret the play assigned to them through a impressive dramatic reading.

At this stage, the teacher must be able to do the following:

• Have the learners make independent application of delivering and interpreting lines through dramatic reading

• Have the learners perform an impressive dramatic reading of a chosen Asian drama

• Have them see the connections between tasks and their real world.• Provide feedback to check for understanding.



As of January 28, 2011 BSE-DepED

Optional Activities• Another option is to choose one Asian drama and divide the class according to the number of acts.

• Remind the class that they need to read the act assign to them

• Assign one act for one group.• Ask each group to choose a portion which is the highlight of the act assigned to them.

• Let the leader assign a role to each member

• Have the class read the act assigned to them.

• Let the class practice reading the act or play assigned to them.• Facilitate the practice being done.

• Ask the students to recall the different techniques and strategies in reading dialogues or play in particular.• Encourage the class to share the problems they encounter while practicing and how they go about them.• Remind the class that they need to come up with a culminating performance.

• Ask the EQ to the class.

• Elicit answers from them leading to the EU.

• Remind the class that they are going to be assessed on the dramatic reading they are going to do.

• Encourage the students to come up with their rubrics.

• Provide rubrics for assessment.

•

Encourage them to modify the rubrics.• Let them do the dramatic reading.

• Instruct the class to tabulate the results they gather.

• Have them read the comments and evaluation results.• Let the students reflect on the assessment results.

• Make the students come up with a journal of their reflections.

• Encourage the class to relate the lessons and activities they have done to the world.

• Elicit ideas on how effective listening affects moods and tones as well as their manner of speaking.• Ask them what they have realized after encountering the different Asian dramas.

• Let them realize the value of understanding other countries’ customs, traditions, beliefs and culture reflected in the different Asiandramas.

Eng Narrative Q2 Topic 1

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