CHED Memorandum Order No. 025-17 establishes the Policies, Standards, and Guidelines (PSGs) for the Bachelor of Performing Arts (BPeA) in the Philippines, aligning with the outcomes-based education framework. It mandates that all higher education institutions offering this program secure government recognition and transition to an outcomes-based approach, emphasizing academic freedom while adhering to minimum curricular requirements. The BPeA program encompasses core competencies in dance and theater, aiming to foster cultural appreciation and professional skills among graduates. Institutions are permitted to innovate within their curricula, provided they meet the stipulated educational outcomes, and must maintain adequate resources and faculty qualifications. Compliance will be monitored and enforced by the Commission on Higher Education (CHED), with a three-year transition period for existing programs to adapt.
May 9, 2017
CHED MEMORANDUM ORDER NO. 025-17
| SUBJECT | : | Policies, Standards and Guidelines for the Bachelor of Performing Arts (BPeA) |
In accordance with the pertinent provisions of Republic Act (RA) No. 7722, otherwise known as the "Higher Education Act of 1994," and in pursuance of an outcomes-based quality assurance system as advocated under CMO 46 s. 2012, and by virtue of Commission en banc Resolution No. 231-2017 dated March 28, 2017 the following policies, standards and guidelines (PSGs) are hereby adopted and promulgated by the Commission. HTcADC
ARTICLE I
Introduction
SECTION 1. Rationale. —
Based on the Guidelines for the Implementation of CMO 46 s 2012, this PSG implements the "shift to learning competency-based standards/outcomes-based education." It specifies the 'core competencies' expected of BPeA graduates "regardless of the type of HEI they graduate from." However, in "recognition of the spirit of outcomes-based education and . . . of the typology of HEIs," this PSG also provides "ample space for HEIs to innovate in the curriculum in line with the assessment of how best to achieve learning outcomes in their particular contexts and their respective missions . . . ."
ARTICLE II
Authority to Operate
SECTION 2. Government Recognition. —
All private higher education institutions (PHEIs) intending to offer BPeA must first secure proper authority from the Commission in accordance with this PSG. All PHEIs with an existing BPeA program are required to shift to an outcomes-based approach based on this PSG. State universities and colleges (SUCs), and local colleges and universities (LCUs) should likewise strictly adhere to the provisions in these policies and standards.
ARTICLE III
General Provisions
Per Section 13 of RA 7722, the higher education institution shall exercise academic freedom in its curricular offerings but must comply with the minimum requirements for specific academic programs, the general education distribution requirements and the specific professional courses. CAIHTE
SECTION 3. The Articles that follow give minimum standards and other requirements and prescriptions. The minimum standards are expressed as a minimum set of desired program outcomes which are given in Article IV Section 6. CHED designed a curriculum to attain such outcomes. This curriculum is shown in Article V Section 8 as a sample curriculum. The number of units of this curriculum is here prescribed as the "minimum unit requirement" under Section 13 of RA 7722. In designing the curriculum, CHED employed a curriculum map which is shown in Article V Section 10 as a sample curriculum map.
Using a learner-centered/outcomes-based approach, CHED also determined appropriate curriculum delivery methods shown in Article V Section 11. The sample course syllabi given in Article V Section 12 show some of these methods.
Based on the curriculum and the means of its delivery, CHED determined the physical resource requirements for the library, laboratories and other facilities and the human resource requirements in terms of administration and faculty. See Article VI.
SECTION 4. The HEIs are allowed to design curricula suited to their own contexts and missions provided that they can demonstrate that the same leads to the attainment of the required minimum set of outcomes, albeit by a different route. In the same vein, they have latitude in terms of curriculum delivery and in terms of specification and deployment of human and physical resources as long as they can show that the attainment of the program outcomes and satisfaction of program educational objectives can be assured by the alternative means they propose.
The HEIs can use the CHED Implementation Handbook for Outcomes-Based Education (OBE) and the Institutional Sustainability Assessment (ISA) as a guide in making their submissions for Sections 17, 18 and 19 of Article VII.
ARTICLE IV
Program Specifications
SECTION 5. Program Description. —
5.1 Degree Name.
The degree program described herein shall be called Bachelor of Performing Arts (BPeA).
5.2 Nature of the Field of Study
The academic program of Bachelor of Performing Arts will comprise mandatory course components in theory and criticism, aesthetics and semiotics, music, movement and choreography. The BPeA program has two tracks: dance and theater.
The dance program shall produce graduates who are highly skilled practitioners of their specific technique, genre, and style and who are competent in the theory, history, literature and production of the dance. The theater program shall produce graduates who are highly skilled practitioners of their field of concentration (i.e., directing, acting, production and design) and who are competent in the theory, history and literature of theater. aScITE
5.3 Program Goals
The Bachelor of Performing Arts program aims to:
a. Impart a meaningful awareness and appreciation of the characteristics and qualities and of the functions and roles of the performing arts as theorized, taught, practiced, and created in Philippine cultures and in the world;
b. Impart an understanding of the physical manifestations and communicative capacities of dance and theater in the context of cultures;
c. Provide opportunities for dance and theater creation and performance; and
d. Contribute to national development and progress by forming citizens who possess cultural self-esteem and national pride.
5.4 Specific Professions/careers/occupations for graduates
Graduates of this program will have career opportunities in performance, production, teaching, choreography, and directing.
5.5 Allied Fields
Bachelor of Music
BFA/AB Creative Writing
AB Literature
Bachelor in Multimedia Arts
AB Philippine Studies
AB Asian Studies
AB Communication
BS Human Kinetics
SECTION 6. Program Outcomes. —
The minimum standards for the Bachelor of Performing Arts program are expressed in the following minimum set of learning outcomes: DETACa
6.1 Common to all programs in all types of schools
a. Articulate and discuss the latest developments in the specific field of practice. (PQF level 6 descriptor)
b. Effectively communicate orally and in writing using both English and Filipino
c. Work effectively and independently in multi-disciplinary and multi-cultural teams. (PQF level 6 descriptor)
d. Act in recognition of professional, social, and ethical responsibility
e. Preserve and promote "Filipino historical and cultural heritage" (based on RA 7722)
6.2 Common to the Humanities Graduates of the Humanities programs are able to:
a. Recognize the need for and demonstrate the ability for life-long learning;
b. Identify multi-perspectives and interrelations among texts and contexts;
c. Apply analytical and interpretive skills in the study of texts;
d. Discuss and/or create artistic forms;
e. Demonstrate research skills specific to the sub-disciplines in the humanities;
f. Use appropriate theories and methodologies critically and creatively; and
g. Appraise the role of humanistic education in the formation of the human being and society.
6.3 Specific to a sub-discipline and a track
Performing Arts Core
a. To interpret performances as product of different contexts and perspectives.
b. To explore and articulate the role of the Filipino performer in the inculcation and enrichment of traditions and innovations of national culture.
Dance Track
a. To differentiate forms and genres in various times and spaces.
b. To demonstrate the knowledge of techniques and styles of dance in various traditional and contemporary practices.
c. To appraise dance in performance, choreography, and design in its totality and details. HEITAD
d. To sustain initiatives for dance through performance, documentation and research of the art forms.
Theater Track
a. To distinguish different theater forms through specific aspects of artistic production.
b. To apply conceptual frameworks of performance in theatrical production.
c. To evaluate elements of theater as performance.
d. To generate ideas on how to utilize theater in promoting local, regional and global perspectives.
6.4 Common to a horizontal type as defined in CMO No. 46 series of 2012
• For professional institutions: a service orientation in one's profession
• For colleges: an ability to participate in various types of employment, development activities, and public discourses particularly in response to the needs of the communities one serves
• For universities: an ability to participate in the generation of new knowledge or in research and development projects
Graduates of State Universities and Colleges must, in addition, have the competencies to support "national, regional and local development plans." (RA 7722)
A PHEI, at its option, may adopt mission-related program outcomes that are not included in the minimum set.
SECTION 7. Recommended Performance Indicators. —
|
Program Outcomes (Performing Arts Core) |
Performance Indicators |
|
a. To interpret performances as product of different contexts and perspectives. |
• Identify the different forms of the performing arts and their appropriate functions. • Classify various performances according to specific historical periods and cultural contexts. |
|
b. To explore and articulate the role of the Filipino performer in the inculcation and enrichment of traditions and innovations of national culture. |
• Identify the roles of the performing arts as a discipline in society. • Recognize the different traditions and innovations in the performing arts. • Express one's Filipino self in the context of Performing Arts. |
|
Program Outcomes (Dance Track) |
Performance Indicators |
|
a. To demonstrate the knowledge of techniques and styles of dance in various traditional and contemporary practices. |
• Execute technical competencies required of particular dance forms. • Distinguish different styles of movement depending on form and genre. |
|
b. To differentiate forms and genres in various times and spaces. |
• Compare dance traditions in various cultures. • Demonstrate the movement components of these traditions. |
|
a. n To appraise dance in performance, choreography and design in its totality and details. |
• Identify the context in which these forms and performances occur. • Analyze and evaluate dance forms and their modes of performance. |
|
b. To generate ideas on how to utilize dance in promoting local, regional and global perspectives. |
• Produce dance performances in traditional modes. Create works that extend or modify existing dance tradition. • Develop innovations in the theory and practice of dance. |
|
Program Outcomes (Theater Track) |
Performance Indicators |
|
a. To apply conceptual frameworks of performance in theatrical production. |
• Identify the various concepts and theories related to theater studies. • Evaluate different styles of theatrical productions appropriate to form and function. |
|
b. To distinguish different theater forms through specific aspects of artistic production. |
• Compare theatrical traditions of various cultures. • Demonstrate the aural and visual component of artistic production of these traditions. |
|
c. To evaluate theater aesthetics through its elements to compose a totality. |
• Identify the context in which these forms and performances occur. • Analyze and evaluate theater forms and their modes of performance. |
|
d. To generate ideas on how to utilize theater in promoting local, regional and global perspectives. |
• Produce performances which utilize local, regional and global theatrical modes. • Create works that extend or modify existing theatrical tradition. • Develop innovations in the theory and practice of theater. |
ARTICLE V
Curriculum
SECTION 8. Curriculum Description. —
8.1 Dance
The curriculum shall consist of courses that impart knowledge of history, theory, and concept geared towards performance and creative capabilities required of any track of Dance. The curriculum of Dance shall contain core subjects related to the performing arts such as theater and music which are necessary for the honing of competent Filipino dancers and cultural workers. ATICcS
8.2 Theater
The curriculum shall consist of courses that impart knowledge of history, theory, and concept geared towards performance and creative capabilities required of any track of theater. The curriculum of theater arts shall contain core subjects related to the performing arts such as dance and movement which are necessary for the creation of competent Filipino theater artists and cultural workers.
SECTION 9. Curriculum Outline. —
9.1 Components
|
• General Education (GE) |
36 units |
|
• Core Courses (PA) |
24 units |
|
• Track |
51 units |
|
• Free Electives |
9 units |
|
• Physical Education (PE) |
8 units |
|
• National Service Training Program (NSTP) |
14 units |
|
TOTAL UNITS |
134 |
|
Courses |
Units |
|
General Education |
36 |
|
GE 1: Purposive Communication/Malayuning Komunikasyon |
3 |
|
GE 2: Art appreciation |
3 |
|
GE 3: Mathematics in the Modern World |
3 |
|
GE 4: Science Technology and Society |
3 |
|
GE 5: Readings in Philippine History |
3 |
|
GE 6: The Contemporary World |
3 |
|
GE 7: Understanding the self |
3 |
|
GE 8: Ethics |
3 |
|
Mandated: Life and Works of Rizal |
3 |
|
GE Elective 1 |
3 |
|
GE Elective 2 |
3 |
|
GE Elective 3 |
3 |
|
Core (8) |
24 |
|
Introduction to the Performing Arts |
3 |
|
Theory and Criticism of the Performing Arts |
3 |
|
Semiotics of the Performing Arts |
3 |
|
Perspectives on Asian Performing Arts |
3 |
|
Fundamentals of Music |
3 |
|
Movement in the Performing Arts |
3 |
|
Improvisation and Composition in the Performing Arts |
3 |
|
Stage Craft |
3 |
|
Track |
51 |
|
Dance Track (17) |
|
|
Elementary Dance Level I |
3 |
|
Elementary Dance Level II |
3 |
|
Intermediate Dance Level I |
3 |
|
Intermediate Dance Level II |
3 |
|
Advanced Dance Level I |
3 |
|
Advanced Dance Level II |
3 |
|
Professional Dance |
3 |
|
Foreign Language |
3 |
|
Anatomy and Kinesiology for Dance |
3 |
|
Music for Dancers |
3 |
|
Sociology of Dance |
3 |
|
Philippine Regional Dances |
3 |
|
Asian Dance |
3 |
|
Western Dance History |
3 |
|
Philippine Dance History |
3 |
|
Dance Pedagogy |
3 |
|
Dance Recital: Production and Documentation (Thesis) |
3 |
|
Theater Track (17) |
51 units |
|
Theater History (Classical) |
3 |
|
Theater History (Modern) |
3 |
|
Asian Theater Traditions |
3 |
|
Philippine Theater History |
3 |
|
Theater Theory and Criticism |
3 |
|
Body, Voice and Movement |
3 |
|
Acting 1 |
3 |
|
Acting 2 |
3 |
|
Directing |
3 |
|
Production Design |
3 |
|
Technical Theater |
3 |
|
Dramaturgy |
3 |
|
Stage Management |
3 |
|
Production Management |
3 |
|
Theater Pedagogy |
3 |
|
Sociology of Theater |
3 |
|
Theater Recital: Production and Documentation (Thesis) |
3 |
|
Performing Arts Electives (suggested electives. HEIs may opt to offer courses according to their needs and resources) |
9 |
|
Performing Arts Electives (PA) |
|
|
1. Performing Arts and Environment |
3 |
|
2. Performing Arts and Religion |
3 |
|
3. Performing Arts as Therapy |
3 |
|
4. Research in the Performing Arts |
3 |
|
5. Multimedia and the Performing Arts |
3 |
|
Dance Electives (DT and DP) |
|
|
1. Contemporary Dance |
3 |
|
2. Movement Analysis |
3 |
|
3. Popular Dance |
3 |
|
4. Dramaturgy for Dance |
3 |
|
5. Dance and Media Arts |
3 |
|
6. Dance for Children |
3 |
|
7. Dance as Education |
3 |
|
8. Survey of Dance Writing |
3 |
|
9. Dance as Ritual |
3 |
|
10. Dance and other arts |
3 |
|
Theater Electives (TT and TP) |
|
|
1. Musical Theater |
3 |
|
2. Regional Theater |
3 |
|
3. Readings in Philippine Theater |
3 |
|
4. Theater and Film |
3 |
|
5. Theater and Special Education |
3 |
|
6. Theater and Literature |
3 |
|
7. Contemporary Theater |
3 |
|
8. Playwriting |
3 |
|
9. Shakespearean Theater |
3 |
|
10. Children's Theater |
3 |
|
Other Mandated/Required Courses |
14 |
|
Physical Education (PE) |
8 |
|
National Service Training Program (NSTP) |
6 |
|
TOTAL |
134 units |
Note: Students may opt to take any of the performing arts, theater arts and dance electives offered by the HEIs. ETHIDa
9.2 Program of Study
DANCE
FIRST YEAR
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 1: Purposive Communication |
3 |
|
3 |
|
|
GE 2: Art appreciation |
3 |
|
3 |
|
|
Elementary Dance Level I |
3 |
|
3 |
|
|
Foreign Language |
3 |
|
3 |
|
|
PA: Introduction to the Performing Arts |
3 |
|
3 |
|
|
PE 1 |
|
|
2 |
|
|
NSTP 1 |
|
|
3 |
|
|
TOTAL |
|
|
20 |
|
2nd Semester
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 3: Mathematics in the Modern World |
3 |
|
3 |
|
|
GE 4: Science Technology and Society |
3 |
|
3 |
|
|
Elementary Dance Level II |
3 |
|
3 |
Elementary Dance Level I |
|
PA: Theory and Criticism of the Performing Arts |
3 |
|
3 |
|
|
PA: Fundamentals of Music |
3 |
|
3 |
|
|
PE 2 |
|
|
2 |
|
|
NSTP 2 |
|
|
3 |
|
|
TOTAL |
|
|
20 |
|
SECOND YEAR
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 5: Readings in Philippine History |
3 |
|
3 |
|
|
PA: Semiotics of the Performing Arts |
3 |
|
3 |
|
|
PA: Perspectives on Asian Performing Arts |
3 |
|
3 |
|
|
Intermediate Dance Level I |
3 |
|
3 |
Elementary Dance Level II |
|
Anatomy and Kinesiology for Dance |
3 |
|
3 |
|
|
Music for Dancers |
3 |
|
3 |
|
|
PE 3 |
|
|
2 |
|
|
TOTAL |
|
|
20 |
|
2nd Semester
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 6: The Contemporary World |
3 |
|
3 |
|
|
Asian Dance |
3 |
|
3 |
|
|
Intermediate Dance Level II |
3 |
|
3 |
Intermediate Dance Level I |
|
Sociology of Dance |
3 |
|
3 |
|
|
Stage Craft |
3 |
|
3 |
|
|
Life and Works of Rizal |
3 |
|
3 |
|
|
PE 4 |
|
|
2 |
|
|
TOTAL |
|
|
20 |
|
THIRD YEAR
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 7: Understanding the self |
3 |
|
3 |
|
|
Philippine Dance History |
3 |
|
3 |
|
|
Advanced Dance Level I |
3 |
|
3 |
Intermediate Dance Level II |
|
Western Dance History |
3 |
|
3 |
|
|
Philippine Regional Dances |
3 |
|
3 |
|
|
TOTAL |
|
|
15 |
|
2nd Semester
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 8: Ethics |
3 |
|
3 |
|
|
PA: Movement in the Performing Arts |
3 |
|
3 |
|
|
Advanced Dance Level II |
3 |
|
3 |
Advanced Dance Level I |
|
GE Elective 1 |
3 |
|
3 |
|
|
PA Elective 1 |
3 |
|
3 |
|
|
TOTAL |
|
|
15 |
|
FOURTH YEAR
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
PA: Improvisation and Composition in the Performing Arts |
3 |
|
3 |
|
|
Professional Dance |
3 |
|
3 |
Advanced Dance Level II |
|
PA Elective 2 |
3 |
|
3 |
|
|
GE Elective 2 |
3 |
|
3 |
|
|
TOTAL |
|
|
12 |
|
2nd Semester
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
Dance Pedagogy |
3 |
|
3 |
|
|
Dance Recital: Production and Documentation (Thesis) |
|
3 |
3 |
Research Proposal to be submitted a semester prior to the recital |
|
GE Elective 3 |
3 |
|
3 |
|
|
PA Elective 3 |
3 |
|
3 |
|
|
TOTAL |
|
|
12 |
|
Summary:
|
Year 1 |
First Semester Second Semester |
20 units 20 units |
|
Year 2 |
First Semester Second Semester |
20 units 20 units |
|
Year 3 |
First Semester Second Semester |
15 units 15 units |
|
Year 4 |
First Semester Second Semester |
12 units 12 units |
|
|
Total |
134 units |
Theater
FIRST YEAR
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 1: Purposive Communication |
3 |
|
3 |
|
|
GE 2: Art appreciation |
3 |
|
3 |
|
|
Body, Voice and Movement |
3 |
|
3 |
|
|
PA: Introduction to Performing Arts |
3 |
|
3 |
|
|
Theater History (Classical) |
3 |
|
3 |
|
|
PE 1 |
|
|
2 |
|
|
NSTP 1 |
|
|
3 |
|
|
TOTAL |
|
|
20 |
|
2nd Semester
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 3: Mathematics in the Modern World |
3 |
|
3 |
|
|
GE 4: Science Technology and Society |
3 |
|
3 |
|
|
Theater History (Modern) |
3 |
|
3 |
TA 101.1 |
|
PA: Theory and Criticism of the Performing Arts |
3 |
|
3 |
|
|
PA: Fundamentals of Music |
3 |
|
3 |
|
|
PE 2 |
|
|
2 |
|
|
NSTP 2 |
|
|
3 |
|
|
TOTAL |
|
|
20 |
|
SECOND YEAR
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 5: Readings in Philippine History |
3 |
|
3 |
|
|
PA: Semiotics of the Performing Arts |
3 |
|
3 |
|
|
PA: Perspectives in Asian Performing Arts |
3 |
|
3 |
|
|
Acting 1 |
3 |
|
3 |
|
|
Dramaturgy |
3 |
|
3 |
|
|
Sociology of Theater |
3 |
|
3 |
|
|
PE 3 |
|
|
2 |
|
|
TOTAL |
|
|
20 |
|
2nd Semester
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 6: The Contemporary World |
3 |
|
3 |
|
|
PA: Stage Craft |
3 |
|
3 |
|
|
Asian Theater Traditions |
3 |
|
3 |
|
|
Acting 2 |
3 |
|
3 |
Acting 1 |
|
Philippine Theater History |
3 |
|
3 |
|
|
Life and Works of Rizal |
3 |
|
3 |
|
|
PE 4 |
|
|
2 |
|
|
TOTAL |
|
|
20 |
|
THIRD YEAR
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
GE 7: Understanding the self |
3 |
|
3 |
|
|
Stage Management |
3 |
|
3 |
|
|
Theater Theory and Criticism |
3 |
|
3 |
|
|
Production Design |
3 |
|
3 |
|
|
Technical Theater |
3 |
|
3 |
|
|
TOTAL |
|
|
15 |
|
2nd Semester
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
Ethics |
3 |
|
3 |
|
|
PA: Movement in the Performing Arts |
3 |
|
3 |
|
|
GE Elective 1 |
3 |
|
3 |
|
|
Directing |
3 |
|
3 |
|
|
PA Elective 1 |
3 |
|
3 |
|
|
TOTAL |
|
|
15 |
|
FOURTH YEAR
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
PA: Improvisation and Composition in the Performing Arts |
3 |
|
3 |
|
|
Production Management |
3 |
|
3 |
|
|
GE Elective 2 |
3 |
|
3 |
|
|
PA Elective 2 |
3 |
|
3 |
|
|
TOTAL |
|
|
12 |
|
2nd Semester
|
Courses |
No. of Hours a week |
Units |
Pre-requisites |
|
|
Lec. |
Prod. |
|||
|
Theater Recital: Production and Documentation (Thesis) |
|
3 |
3 |
Dramaturgy (Final req't. of this course is the proposal for the thesis) |
|
Theater Pedagogy |
3 |
|
3 |
|
|
GE Elective 3 |
3 |
|
3 |
|
|
PA Elective 3 |
3 |
|
3 |
|
|
TOTAL |
|
|
12 |
|
Summary:
|
Year 1 |
First Semester Second Semester |
20 units 20 units |
|
Year 2 |
First Semester Second Semester |
20 units 20 units |
|
Year 3 |
First Semester Second Semester |
15 units 15 units |
|
Year 4 |
First Semester Second Semester |
12 units 12 units |
|
|
Total |
134 units |
SECTION 10. Sample Curriculum Map (Please see Annex A). —
Curriculum map is "a matrix relating all the courses listed in the program curriculum with one or more of the declared program outcomes." TIADCc
The HEIs/LUCs/SUCs shall create a complete curriculum map of their current existing BPeA Curriculum. Refer to Annex A for a sample curriculum map that relates all the courses in the sample curriculum with the minimum set of program outcomes.
SECTION 11. Sample Means of Curriculum Delivery. —
Lectures (L). Lectures and class discussions will serve as pedagogical tools for learning.
Group Discussions (GD). Group discussions will be conducted to encourage exchange of ideas and enhance critical thinking.
Archival Research (AR). Archival research will develop critical inquiry and train the students for systematic data gathering and evaluation of information.
Field Work/Practicum/Internship (FW). Field Work, practicum activities and internship will provide them with opportunities for experiential learning.
Multimedia (M). Exposure to aural and visual performance materials will develop critical appreciation of the performing arts.
Performance (P). Participation in productions (e.g., performances and recitals) will provide students opportunities to understand theories and techniques related to the discipline.
|
Recommended Courses |
Recommended Tools of Curriculum Delivery |
|
Introduction to the Performing Arts |
• L, GD, AR, M |
|
Theory and Criticism of the Performing Arts |
• L, GD, AR, M |
|
Semiotics of the Performing Arts |
• L, GD, AR, FW, M |
|
Fundamentals of Music |
• L, GD, AR, M, P |
|
Stage Craft |
• L, GD, AR, FW, M, P |
|
Movement in the Performing Arts |
• L, GD, AR, M, P |
|
Improvisation and Composition in the Performing Arts |
• L, GD, AR, M, P |
|
Sociology of Dance |
• L, GD, AR, FW, M |
|
Elementary Dance 1 |
• L, FW, M, P |
|
Dramaturgy |
• L, GD, AR, FW, M |
|
Directing |
• L, GD, AR, M, P |
SECTION 12. Sample Syllabi for Selected Core Courses (Please see attached Annex B).
ARTICLE VI
Required Resources
SECTION 13. Program Administration. — cSEDTC
13.1 The Dean/Chair must be a full-time administrator.
13.2 The Dean/Chair should meet the minimum qualifications as follows:
a. Must be a Filipino citizen
b. Must be a holder of at least a graduate degree in Performing Arts/Theater Arts/Dance or any of the allied fields.
b.1 Graduates of allied courses may be eligible for deanship/chairmanship if he/she has professional track record in the field.
c. Must have a consistent satisfactory record of administration and teaching in any HEI for at least three (3) years.
13.3 The general functions/responsibilities of the Dean/Chair are to:
a. Manage the programs, faculty and staff;
b. Approve the curriculum and supervise implementation;
c. Provide development platforms for students, faculty, and staff;
d. Administer procurement and maintenance of academic, human and physical resources; and
e. Represent the institution in all official functions.
13.4 In HEIs that offer both Dance and Theater programs, a coordinator can be appointed for each program.
13.5 A Program Coordinator should meet the minimum qualifications as follows:
a. Must be a Filipino citizen;
b. Must be a holder of at least a graduate degree in the Performing Arts or any of the allied fields; and
c. Must have a consistent satisfactory record of administration and teaching in any HEI for at least three (3) years.
13.6 The general functions/responsibilities of the Program Coordinator are to:
a. Manage the specific program and its faculty;
b. Supervise implementation and facilitate development of specific curriculum;
c. Implement development programs provided for students, faculty, and staff; and AIDSTE
d. Perform other administrative functions assigned by the Dean/Chair.
SECTION 14. Faculty Requirements. —
14.1 A minimum of two (2) full-time faculty members is required.
14.2 Qualifications
a. Must have a Bachelor's degree in Performing Arts or any allied field.
b. Must be a practitioner in the field of theater and/or dance.
c. Must have a professional affiliation with any performing arts or allied field organization.
14.3 Teaching Load
The teaching load of faculty whether full-time or part-time shall be governed by institutional policies following CHED requirements.
SECTION 15. Library Requirements. —
Library personnel, facilities and holdings should conform to existing CHED requirements for libraries which are embodied in a separate CHED issuance. The library must maintain a collection of updated and appropriate/suitable textbooks and references used for the core courses in the curriculum. Library resources should complement curriculum delivery to optimize the achievement of the program outcomes for the Bachelor of Performing Arts program.
SECTION 16. Space, Equipment and Other Physical Facilities. —
The institution must ensure the provision of the following minimum facilities:
16.1 Lecture Halls and Classrooms
16.2 Performance and Rehearsal Spaces
a. For Dance program, a dance studio (8m x 8m x 3.5m, ideally with safe floor, mirrors and dance barres) with provisions for music and video playback for classes
b. For Theater program, a black box theater or any equivalent space for classes, rehearsals, and performances
c. For technical theater courses, a scene shop or any equivalent space
d. Storage room or space for costumes, props, and set pieces
16.3 Equipment
a. Music and video recorders and players for dance and theater tracks
b. Software for dance notation for dance track SDAaTC
c. Basic lighting equipment (lights board, par lights, wires, gels) for dance and theater tracks
ARTICLE VII
Compliance of HEIs
Using the CHED Implementation Handbook for OBE and ISA as reference, a HEI shall develop the following items which will be submitted to CHED when they apply for a permit for a new program:
SECTION 17. The complete set of program outcomes, including its proposed additional program outcomes.
SECTION 18. Its proposed curriculum, and its justification including a curriculum map.
SECTION 19. Proposed performance indicators for each outcome. Proposed measurement system for the level of attainment of each indicator.
SECTION 20. Proposed outcomes-based syllabus for each course. This should already be indicative of the plan of delivery of the curriculum, student assessment and of the resources to be deployed.
SECTION 21. Proposed system of program assessment and evaluation.
SECTION 22. Proposed system of program Continuous Quality Improvement (CQI).
For existing programs, the CHED shall conduct regular monitoring and evaluation on the compliance of HEIs to this Policies, Standards and Guidelines using an outcomes-based assessment instrument.
ARTICLE VIII
Sanction
SECTION 23. For violation of this Order, the Commission may impose such administrative sanction as it may deem appropriate pursuant to the pertinent provisions of RA 7722 in relation to Sections 68-69 of Batas Pambansa Blg. 232 otherwise known as the Higher Education Act of 1982, Section 63 of Article XII and Sections 142-143 of Article XXVI of the Manual of Regulations for Private Higher Education of 2008, and other related laws.
ARTICLE IX
Transitory, Repealing and Effectivity Provisions
SECTION 24. Transitory Provision. — AaCTcI
All private HEIs, state universities and colleges (SUCs) and local universities and colleges (LUCs) with existing authorization to operate Bachelor of Performing Arts program are hereby given a period of three (3) years from the effectivity thereof to fully comply with all the requirements in this CMO. However, the prescribed minimum curricular requirements in this CMO shall be implemented starting Academic Year 2018-2019.
SECTION 25. Repealing Clause. —
All CHED issuances or part thereof inconsistent with the provision in this CMO shall be deemed modified or repealed.
SECTION 26. Effectivity Clause. —
This CMO shall take effect fifteen (15) days after its publication in the Official Gazette or in a newspaper of general circulation.
Quezon City, Philippines, May 9, 2017.
For the Commission:
(SGD.) PATRICIA B. LICUANAN, Ph.D.
Chairperson
ANNEX A
Sample Curriculum Map
|
Performing Arts Core |
To understand and interpret performances as product of different contexts and perspectives. |
To remember the role of the Filipino performer in the inculcation and enrichment of traditions and innovations of national culture. |
|
Introduction to the Performing Arts |
L |
O |
|
Theory and Criticism for the Performing Arts |
L |
O |
|
Aesthetics and Semiotics in the Performing Arts |
L |
L |
|
Fundamentals of Music |
L |
L |
|
Stage Craft |
P |
L |
|
Movement in the Performing Arts |
P |
L |
|
Improvisation and Composition in the Performing Arts |
P |
L |
|
Perspectives in Asian Performing Arts |
L |
L |
Legend: (L) Learn; (P) Practice; (O) Opportunity
a) Dance
|
|
To demonstrate the knowledge of techniques and styles of dance in various traditional and contemporary practices. |
To differentiate forms and genres in various times and spaces. |
To appraise dance in performance, choreography and design in its totality and details. |
To further the life of dance through creative generations. |
|
Elementary Dance Level I |
P |
P |
P |
O |
|
Elementary Dance Level II |
P |
P |
P |
O |
|
Intermediate Dance Level I |
P |
P |
P |
O |
|
Intermediate Dance Level II |
P |
P |
P |
O |
|
Advanced Dance Level I |
P |
P |
P |
O |
|
Advanced Dance Level II |
P |
P |
P |
O |
|
Professional Dance |
P |
P |
P |
P |
|
Foreign Language |
L |
L |
L |
L |
|
Anatomy and Kinesiology for Dance |
O |
O |
L |
O |
|
Music for Dancers |
L |
L |
L |
|
|
Sociology for Dance |
L |
P |
P |
P |
|
Philippine Regional Dances |
P |
P |
L |
P |
|
Western Dance History |
L |
L |
O |
O |
|
Asian Dance |
P |
P |
P |
P |
|
Philippine Dance History |
L |
L |
P |
O |
|
Dance Pedagogy |
L |
L |
L |
O |
|
Dance Recital |
P |
P |
P |
P |
b) Theater
|
|
To apply conceptual frameworks of performance in theatrical production. |
To distinguish different theater forms through specific aspects of artistic production. |
To evaluate theater aesthetics through its elements to compose a totality. |
To generate ideas on how to utilize theater in promoting local, regional and global perspectives. |
|
Theater History (Classical) |
O |
L |
L |
O |
|
Theater History (Modern) |
O |
L |
L |
O |
|
Asian Theater Traditions |
O |
L |
L |
P |
|
Philippine Theater History |
O |
L |
L |
P |
|
Sociology of Theater |
L |
L |
L |
L |
|
Theater Theory and Criticism |
O |
L |
L |
O |
|
Body, Voice and Movement |
L |
P |
P |
P |
|
Acting 1 |
L |
P |
P |
P |
|
Acting 2 |
P |
P |
P |
P |
|
Directing |
L |
P |
P |
P |
|
Production Design |
P |
P |
P |
P |
|
Technical Theater |
P |
P |
P |
P |
|
Dramaturgy |
L |
P |
P |
P |
|
Stage Management |
P |
P |
P |
O |
|
Production Management |
P |
P |
P |
O |
|
Theater Pedagogy |
P |
P |
P |
O |
ANNEX B
Sample Course Syllabi
|
Course Name |
: |
PA: INTRODUCTION TO THE PERFORMING ARTS |
|
Course Description |
: |
This course introduces students to the varied roles of the performing arts in society. Students will be encouraged to view the performing arts using historical, sociological, media and contemporary perspectives. Introduction to the Performing Arts will provide students with the exposure to dance, theater, music, and performance art through active audience-ship, listening and observing exercises, and assigned reading materials. This course is also designed to introduce students to career options in the performance industry, both onstage and behind the scenes. This course is a pre-requisite course for all track courses. |
|
Course Outcomes |
: |
K — Exemplify foundational perspectives in the area of the performing arts. S — Recognize various forms of expression as performance. A — Gain appreciation of performance as an artistic creation and expression in society. |
|
Course Credits |
: |
3 units |
|
Contact Hours/week |
: |
3 hours |
|
Prerequisite |
: |
None |
|
Suggested Course Content |
: |
1. Introduction • Art • Performance • Performing Arts 2. Dance as Performing Arts • Evolution of Human Expression into Dance • Elements of Dance • Functions and Meaning 3. Theater as Performing Arts • Evolution of Human Expression into Theater • Elements of Theater • Functions and Meaning 4. Music as Performing Arts • Evolution of Human Expression into Music • Elements of Music • Functions and Meaning 5. Other forms of Performances and the other Arts • Evolution of Human Expression into other Forms • Elements of other forms of Performance • Functions and Meaning |
|
Suggested Readings |
: |
1. Davies, David. 2011. Philosophy of the Performing Arts. New Jersey: Wiley-Blackwell. 2. Halliwell, Stephen. 2009. The Aesthetics of Mimesis: Ancient Texts and Modern Problems. New Jersey: Princeton University Press. 3. Hischak, Thomas. 2006. Theater as Human Action: An Introduction to Theater Arts. Maryland: Scarecrow Press, Inc. 4. Johnson, Effiong. 2011. Playwriting: The Fundamentals. Indiana: Xlibris Corporation. 5. Lihs, Harriet. 2009. Appreciating Dance: A Guide to the World's Liveliest Art. New Jersey: Princeton Book Company. 6. Machlis, Joseph. 2011. The Enjoyment of Music: An Introduction to Perceptive Learning. New York: W. W. Norton and Company. 7. McCarthy, Kevin F., et al. 2001. The Performing Arts in a New Era. California: Rand. 8. Royce, Anya Peterson. 2004. Anthropology of the Performing Arts. California: Altamira Press. |
|
Course Name |
: |
PA: THEORY AND CRITICISM OF THE PERFORMING ARTS |
|
Course Description |
: |
Theory and Criticism for the Performing Arts is an interdisciplinary course of study that emphasizes the theoretical and critical discourse on the production and consumption of a performance. This course will encourage students to raise questions regarding the nature and function of performing arts in relation to human society and assess their role in the production and consumption of performances. |
|
Course Outcome |
: |
K — Understand the different theories used in developing critical frameworks for the performing arts. S — Interpret performance texts using specific theories based on particular contexts. A — Develop critical appreciation of the performing arts. |
|
Course Credits |
: |
3 units |
|
Contact Hours/week |
: |
3 hours |
|
Prerequisite |
: |
None |
|
Suggested Course Content |
|
I. What is Theory? II. Theorizing Performance A. Theory for Performers 1. Techniques and Methods 2. Performativity (Text as Performance, Ritual as Performance, Liminality of Performance) B. Theory for Audience Analysis 1. Production of Meaning (Mimesis, Semiotics, Objective Theory, Pragmatism) 2. Social Conflict in the Performing Arts (The Performing Arts in the Feudal Societies, Marxist Theories on Economics of Production, Gender in the Performing Arts, Post-colonialism, Orientalism) 3. Dramaturgy (Sociological, Historical, Archetypal) |
|
Suggested Readings |
|
1. Abercrombie, Nicholas and Brian Longhurst. 1998. Audiences: A Sociological Theory of Performance and Imagination. New York: Sage Publications. 2. Bell, Elizabeth. 2008. Theories of Performance. New York: Sage Publications. 3. Fuschini, Ludivine Allegue. 2009. Practice as Research. New York: Palgrave Macmillan. 4. Freeman, John. 2010. Blood, Sweat and Theory. United Kingdom: Libri Publications. 5. Goodman, Lisbeth. 2004. Contemporary Feminist Theories. United Kingdom: Taylor and Francis. 6. Halliwell, Stephen. 2009. The Aesthetics of Mimesis: Ancient Texts and Modern Problems. New Jersey: Princeton University Press. 7. Royce, Anya Peterson. 2004. Anthropology of the Performing Arts. California: Altamira Press. 8. Reinelt, Janelle G. and Joseph R. Roach, eds. 2007. Critical Theory and Performance. Michigan: The University of Michigan Press. 9. Schechner, Richard. 2004. Performance Theory. London and New York: Routledge. |
|
Course Name |
: |
PHILIPPINE REGIONAL DANCES |
|
Course Description |
: |
The course is a survey of various Philippine Dance forms throughout history. It traces the development of dance in the context of pre-colonial, colonial and post-colonial experiences of Filipinos. |
|
Course Outcome |
: |
K — Recognize the development of Philippine Dance throughout history. S — Classify and demonstrate examples of regional dances and their cultural and historical contexts. A — Acquire appreciation of Philippine Dance vis-a-vis foreign dance forms. |
|
Course Credits |
: |
3 units |
|
Contact Hours/week |
: |
3 hours |
|
Prerequisite |
: |
None |
|
Suggested Course Content |
|
I. Philippine Ethnic Dances A. Ritual dances B. Occupational dances C. Mimetic dances D. Social dances II. Philippine Folk Dances A. Religious dances B. Occupational dances C. Mimetic dances D. Social dances III. Contemporary Dance Forms A. Social dances B. Theatrical dances C. Recreational dances |
|
Suggested Readings |
|
1. Alejandro, Reynaldo Gamboa. 2002. Sayaw: Philippine Dances. Manila: Anvil Publishing. 2. Aquino, Francisca Reyes. 1976. Philippine Folk Dances. 6 vols. Quezon City: Kayumanggi Press. 3. Gabao, Larry and Franco Velas, eds. Sayaw. Dance of the Philippine Isles. 12 vols. Manila: Philippine Folk Dance Society. 4. Ness, Sally Ann. 2003. Where Asia Smiles: An Ethnography of Philippine Tourism. University of Pennsylvania Press. 5. Pison, Ruth Jordana. 2013. A Narrative of Center and Periphery: Dance = Pull's Contemporary Directional Motivation. Journal of English Studies and Comparative Literature, Vol. 13. No. 1. Quezon City: University of the Philippines Press. 6. Villaruz, Basilio. 2006. Threading Through: 45 Years of Philippines Dance. Quezon City: University of the Philippines Press. 7. Mirano, Elena. 1989. Subli: One Dance in Four Voices. Museo ng Manila: Kalinangang Pilipino, Cultural Resources and Communicating Services, National Coordinating Center for the Arts. 8. Gonzalves, Theodore. 2005. Dancing Into Oblivion: The Pilipino Cultural Night and the Narration of Contemporary Filipina/o American. Kritika Kultura, Vol. 5 No. 1, Quezon City: Ateneo de Manila University Press. 9. Tiongson, Nicanor, et al. 1991. Tuklas Sining: Video Documentaries on the Philippine Arts. Pasay: Cultural Center of the Philippines. 10. Tolentino, Francisca Reyes. Philippine National Dances. New York: Silver Burdett and Co., 1946. |
|
Course Name |
: |
PHILIPPINE THEATER HISTORY |
|
Course Description |
: |
The course is a survey of various Philippine Theater forms throughout history. It traces the synchronic and diachronic development of theater in specific historical periods and settings, through representative texts and performances. Emphasis is on the evolution of themes, aesthetic, forms, and functions of drama as expression of Filipino identity in social, national and global contexts. |
|
Course Outcome |
: |
K — Recognize the development of Philippine Theater throughout history. S — Classify theater forms through traditions and influences in aesthetics and functions. A — Acquire appreciation of Philippine Theater vis-a-vis foreign theater forms. |
|
Course Credits |
: |
3 units |
|
Contact Hours/week |
: |
3 hours |
|
Prerequisite |
: |
None |
|
Suggested Course Content |
|
I. Philippine Indigenous Theater A. Liminal Rituals B. Mimetic dances C. Customs II. Spanish Colonial Theater A. Religious plays 1. Lenten plays (Sinakulo, Moriones, Osana, Salubong) 2. Christmas plays (Panunuluyan, Tatlong-Hari) B. Secular plays 1. Komedya (De Santo, De Capa y Espada) 2. Sainete (La India Elegante y El Negrito Amante) III. American Colonial Theater A. Sarsuwela (Dalagang Bukid, Walang Sugat) B. Drama 1. Simboliko (Kahapon, Ngayon at Bukas, Tanikalang Guinto) 2. Tragico/Melodrama (Veronidia) 3. Comico/Katatawanan (Sino ba kayo, Mga Santong Tao) C. Bodabil IV. Contemporary Theater A. Realistic plays B. Expressionistic plays C. Musical plays D. Evolving forms |
|
Suggested Readings |
|
1. Fernandez, Doreen. Palabas: Essays on Philippine Theater History. Quezon City: Ateneo de Manila University Press, 1996. 2. Tiongson, Nicanor G, editor. CCP Encyclopedia of Philippine Art. Volume VII: Theater. Manila: Cultural Center of the Philippines, 1994. 3. Riggs, Arthur Stanley, The Filipino Drama: 1905. Manila: Ministry of Human Settlements, Intramuros Administration, 1981. 4. Mojares, Resil B. Theater in Society, Society in Theater: Social History of a Cebuano Village: 1840-1940. Quezon City: Ateneo de Manila University Press, 1985. 5. Villaruz, Basilio Esteban. Walking Through Philippine Theater. Manila: University of Sto. Tomas Publishing House, 2012. |
|
Course Name |
: |
Elementary Dance Level I |
|
Course Description |
: |
Dance technique courses address the progressive development of the dancer's technical skills. Elementary Dance I ensures the student's sustained exposure to Classical Ballet Technique and Contemporary Dance. Students will be exposed to the processes of technical integration, development, and refinement through the practice of dance technique, greater body awareness and appreciation of the art form. |
|
Course Outcome |
: |
K — Be able to distinguish technique in both classical ballet and contemporary dance. S — Be able to demonstrate technical competence in both classical ballet and contemporary dance. A — Be able to promote better awareness of the body to facilitate understanding movement. |
|
Course Credits |
: |
3 |
|
Contact Hours/week |
: |
3 |
|
Prerequisite |
: |
None |
|
Suggested Course Content |
|
I. Body Awareness A. Placement B. Coordination C. Movement in time and space II. Movement Training A. Classical Ballet B. Contemporary/Modern Dance C. Folk Dance Movement III. Elementary Dance Exploration and Some Repertoire |
|
Suggested Readings |
|
1. Franklin, Eric. 2004. Conditioning for Dance. London: Human Kinetics. 2. Barringer, Janice, and Sarah Schlesinger. 2004. The Pointe Book: Shoes, Training, & Technique. London: Princeton Book. 3. House, Justin, and Moira McCormack. 2009. Anatomy, Dance Technique and Injury Prevention. London: A & C Black. 4. Rymans, Rhonda. 2007. Dictionary of Classical Ballet Terminology. London: Royal Academy of Dance. 5. Radaic, Felicitas L. 2012. Philippine Ballet Syllabus. Manila: Vibal Publishing. |
|
Course Name |
: |
ACTING I |
|
Course Description |
: |
This course introduces the basic elements of acting such as movement and voice and the interplay of these elements. Students will undergo improvisational exercises on body and movement, voice and speech, tension and extension. Learnings from these exercises will be applied to scene works and culminating performances. |
|
Course Outcome |
: |
K — Be able to acquire basic acting techniques. S — Be able to demonstrate technical competence in movement and vocal improvisation. A — Be able to promote better awareness of acting elements directly applied to scene works and other performances. |
|
Course Credits |
: |
3 |
|
Contact Hours/week |
: |
3 |
|
Prerequisite |
: |
|
|
Suggested Course Content |
|
I. Elements of Acting A. Body and Movement B. Voice and Speech C. Tension and Extension II. Scene Works A. Monologue B. Pair/Dialogue C. Ensemble III. Culminating Performances |
|
Suggested Readings |
|
1. Adrian, Barbara. 2008. Actor Training the Laban Way: An Integrated Approach to Voice, Speech, and Movement. New York: Allworth Press. 2. Bogart, Anne and Landau, Tina. 2005. The Viewpoints Book, A Practical Guide to Viewpoints and Composition. New York: Theater Communication Book. 3. Bruder, Melissa, et al. 1986. A Practical Handbook for the Actor. NY: Random House, Inc. Vintage Books. 4. Caldarone, Marina, et al. 2004. Actions: The Actor's Thesaurus. LA: Drama Publishers. 5. Gelb, Michael. 1995. Body Learning: An Introduction to the Alexander Technique. New York: Henry Holt and Co. 6. Krasner, David. 2012. An Actor's Craft: The Art and Technique of Acting. Palgrave Macmillan. 7. O'Neill, Rosary Hartnel. 2007. The Actor's Checklist: Creating the Complete Character. CA: Thomson Wadsworth, 2007. 8. Wenston, Judith. 2006. Directing Actors. MI: Michael Wiese Productions. |
Course Descriptions
CORE COURSES
|
COURSE |
COURSE DESCRIPTIONS |
|
PA: INTRODUCTION TO THE PERFORMING ARTS |
Introduces students to the varied roles of the performing arts in society using historical, sociological, media and contemporary perspectives. |
|
PA: THEORY AND CRITICISM OF THE PERFORMING ARTS |
Emphasizes the theoretical and critical discourse on the production and consumption of a performance. |
|
PA: SEMIOTICS OF THE PERFORMING ARTS |
Studies artistic orientations and practices through time, in the East and West, and more recent approaches to hermeneutics of dance and the other arts as rooted in social traditions and conventions (e.g., Asian and Western role-playing modes); emphasizes the significance of non-verbal symbol systems. |
|
PA: FUNDAMENTALS OF MUSIC |
Focuses on the teaching of basic elements of music and the process of music creation through rhythm, melody, tone, dynamics, and music notation. |
|
PA: STAGE CRAFT |
Introduces the backstage world of theater, providing students the opportunity to work with tools and techniques of theatrical production. |
|
PA: MOVEMENT IN THE PERFORMING ARTS |
Studies movement focusing on the body, its reflexes and body-mind adeptness, to train the learners to develop their skills as a performer, a teacher and a choreographer/director and their awareness of mobility range, creativity, health and safety. |
|
PA: IMPROVISATION AND COMPOSITION IN THE PERFORMING ARTS |
Investigates the body's potential to move without preconception, emphasizing the importance of interplay, problem-solving, and sensitivity in order to build on movement vocabularies and increase kinesthetic control and body awareness. |
|
ELEMENTARY DANCELEVEL I |
Introduces the progressive development of the dancer's technical skills and ensures the student's sustained exposure from Classical Ballet Technique to Contemporary Dance. |
|
ELEMENTARY DANCE LEVEL II |
Sustains and enhances the dancer's technical skills acquired in Elementary Dance I. |
|
INTERMEDIATE DANCE LEVEL I |
Develops the dancer's technical skills in Classical Ballet Technique and Contemporary Dance as learned from Elementary Dance Level. |
|
INTERMEDIATE DANCE LEVEL II |
Expands the dancer's technical skills and vocabulary acquired in Intermediate Dance Level I. |
|
ADVANCE DANCE LEVEL I |
Intensifies the dancer's technical skill training through the instruction of Classical Ballet variations and repertoire. |
|
ADVANCE DANCE LEVEL II |
Strengthens the dancer's skill training through the instruction of technically challenging Classical Ballet variations, building on the repertoire learned from Advance Dance Level I. |
|
PROFESSIONAL DANCE |
Exposes dance students to performance as a sustainable career option. |
|
FOREIGN LANGUAGE |
Familiarizes the students with the basic grammatical structure and sound of the FL with emphasis on specialized vocabulary used in the performing arts. |
|
ANATOMY AND KINESIOLOGY FOR DANCE |
Introduces dance tracks to the field of kinesiology and gives students background information on basic human anatomy and basic biomechanics. |
|
MUSIC FOR DANCERS |
Enhances rhythmic awareness through intensive rhythmic skills through exercises of dance rhythm, analytical listening, basic music notation, and creation of rhythm-based short dance work. |
|
SOCIOLOGY OF DANCE |
Contextualizes dance as artistic and social practice in past and present-day societies using anthropological and sociological approaches. |
|
PHILIPPINE DANCE |
Traces the development of dances in the context of colonial and post-colonial experiences of Filipinos. |
|
WESTERN DANCE HISTORY |
Traces the basic and over-all growth of dance as artistic and social expression through time and contexts (East, West, techniques, theories, choreography, music, designs, etc.) |
|
ASIAN DANCE |
Provides students with an historical and cross-cultural analysis of bodily and sensory experience of Asian movement orientation. |
|
DANCE PEDAGOGY |
Provides students with the fundamentals of movement essential to facilitating dance education in the public and private studio setting. |
|
DANCE RECITAL: PRODUCTION AND DOCUMENTATION |
Synthesizes all of the courses the student has taken to complete the dance program. |
|
THEATER HISTORY 1 (CLASSICAL) |
Traces western theater history from the Greeks to European Restoration, from the tragedies to the comedies of 18th century. |
|
THEATER HISTORY 2 (MODERN) |
Traces western theater history from the 19th century to contemporary period, from the melodrama to more innovative forms. |
|
ASIAN THEATER TRADITIONS |
Surveys various Asian Theater forms from the different regions such as Southeast Asia, East Asia (Japanese and Chinese) and South Asia. |
|
PHILIPPINE THEATER HISTORY |
Traces the synchronic and diachronic development of Philippine theater in specific historical periods and settings, through representative texts and performances. |
|
SOCIOLOGY OF THEATER |
Contextualizes theater as artistic and social practice in past and present day societies using anthropological and sociological approaches. |
|
THEATER THEORY AND CRITICISM |
Introduces traditions, approaches, styles of theater as an art form from multidisciplinary and cross-cultural perspectives. |
|
BODY, VOICE AND MOVEMENT |
Introduces techniques, approaches, and exercises the proper use of the actor's voice and body. |
|
ACTING 1 |
Introduces the basic elements of acting such as movement and voice and the interplay of these elements. |
|
ACTING 2 |
Explores acting and movement techniques for monologue and ensemble work performances. |
|
DIRECTING |
Explores basic directing techniques, focusing on lines, compositions, texture and storytelling. |
|
PRODUCTION DESIGN |
Introduces set and costume design for stage focusing on the study of color, proportion, history, character and text analysis. |
|
TECHNICAL THEATER |
Introduces the study of the basic principles of technical theater focusing on the aesthetic and pragmatic functions of lighting and sound design for the stage. |
|
DRAMATURGY |
Introduces students to the areas of Dramatic Criticism (theater criticism, theater scholarship, translations, script analysis and editing), and Production Dramaturgy (working with the director, play development, etc.) |
|
STAGE MANAGEMENT |
Introduces the basic principles and practices from preproduction to post-production. |
|
PRODUCTION MANAGEMENT |
Introduces the principles and practices of production management for theater including human and financial resource management. |
|
THEATER PEDAGOGY |
Provides students with the fundamentals of theater essential to facilitating theater education in the public and private setting. |
n Note from the Publisher: Copied verbatim from the official copy. Irregular numerical sequence.
Policies, Standards and Guidelines for the Bachelor of Performing Arts (BPeA), CHED Memorandum Order No. 025-17, May 9, 2017 (Philippines)
Policies, Standards and Guidelines for the Bachelor of Performing Arts (BPeA), CHED Memorandum Order No. 025-17 (Phil. 2017)
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