creative writing deped curriculum guide

Creative Writing

GRADE 7 - 1ST QUARTER

GRADE 8 - 1ST QUARTER

GRADE 7 - 2ND QUARTER

GRADE 8 - 2ND QUARTER

GRADE 7 - 3RD QUARTER

GRADE 8 - 3RD QUARTER

GRADE 7- 4TH QUARTER

GRADE 8 - 4TH QUARTER

GRADE 9 - 1ST QUARTER

GRADE 9 - 2ND QUARTER

GRADE 9 - 3RD QUARTER

GRADE 9 - 4TH QUARTER

GRADE 10 - 1ST QUARTER

GRADE 10 - 2ND QUARTER

GRADE 10 - 3RD QUARTER

GRADE 10 -4TH QUARTER

Educational Resources for All

Spa curriculum guides (updated links).

SPA (Special Program in the Arts) is a program made by the Department of Education in the Philippines to give talented students a chance to enhance their talents in different fields. There are five fields in the SPA: Creative Writing (English and Filipino), Visual Arts, Theater Arts, Vocal Music, Instrumental Music, Dance and Media Arts.

The complete set of curriculum guides for Special Program in the Arts is now available. Just patiently wait while we update the download links. PLEASE CLICK the LINK and wait 5 seconds then click SKIP AD at the upper right corner.After you click SKIP AD, you will be redirected to the download page.

JUST CLICK the LINK and wait 10 seconds then click <Get Link> below. After you click Get Link button, you will be redirected to the download page.

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116 thoughts on “ spa curriculum guides (updated links) ”.

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do we have an updated SPA Implementing Guidelines ? salamat

hindi ako mkapag download. PG CLINICK KO UNG DOWNLOAD IBA YONG LUMALABAS

Good day sir! Pwede po paassist sa pagdownload ng CG for SPA. Error po kapag dinadownload ko. Salamat po!

Please paki help kung paano ma download ang link, Sir.

Do u have curriculum guide for SPA research for grade 9 and 10… Thank u

Cannot download the links for grade 9 and 10 Media Arts.

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Creative Non-Fiction Curriculum Guide(CG)-HUMSS

CLOPIFIED does not own this SHS Creative Non-Fiction Curriculum Guide.  DepEd owns this and has certainly the right over its copyright law.

The Creative Non-Fiction Curriculum Guide introduces the students to the reading and writing of Creative Nonfiction as a literary form. This also develops in students skills in reading, and thinking critically and creatively, that will help them to be imaginative readers and writers.

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K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL – ACADEMIC TRACK

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John Kilgore

Karen Le Rossignol

In a recent issue of TEXT, Matthew Ricketson sought to clarify the ‘boundaries between fiction and nonfiction’. In his capacity as a teacher of the creative nonfiction form he writes, ‘I have lost count of the number of times, in classes and in submitted work, that students have described a piece of nonfiction as anovel’. The confusion thus highlighted is not restricted to Ricketson’s journalism students. In our own university’s creative writing cohort, students also struggle with difficulties in melding the research methodology of the journalist with the language and form of creative writing required to produce nonfiction stories for a 21st century readership. Currently in Australia creative nonfiction is enthusiastically embraced by publishers and teaching institutions. Works of memoir proliferate in the lists of mainstream publishers, as do anthologies of the essay form. During a time of increasing competition and desire for differentiation between institutions, when graduate out...

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A few years ago, the M.F.A. and undergraduate creative writing programs unexpectedly left my English department, joining theater and several other programs in a new School of the Arts. The decision to leave was negotiated secretly with the president's office and stunned most department members. Among them were the rhetoric and composition faculty-myself included-who had for years staffed the creative nonfiction offerings, including the introductory undergraduate course and the graduate M.F.A. workshop. The graduate course would surely leave with the M.F.A. But what about the undergraduate class? Introduction to Creative Nonfiction was originally conceived by the rhetoric and composition faculty, who also taught-and cherished-the course. Unsurprisingly, the creative writing faculty argued that English 204 was a "creative" writing course, and therefore belonged with them as part of their new undergraduate curriculum.

Crisis Reporters, Emotions, and Technology

Johana Kotišová

The first part of the methodological chapter explains in detail how and why the style of writing bringing together empirical material and fiction, termed “creative nonfiction,” was employed, and illustrates its main functions: illustrative, allegorical, organizing, effective, and reflexive. The author also explains most of the metaphors used in the research monograph including the character of James, the fictional journalist, and argues that the book profits precisely from the intersections of the factual and fictional narratives. The second part of the chapter re-tells the ethnographic research process, following four stages: establishing the field, immersion in the research problem, disentanglement, and return to the field. Kotisova also addresses the epistemology and methodology of studying emotions, and the opportunistic, multi-sited, and participatory logic of the research design.

The WAC Clearinghouse; University Press of Colorado eBooks

College English

This article explores the genre of creative nonfiction, highlighting the largely hidden processes that influence our appraisals of it. Using a framework that builds from genre theory, this work argues that by exposing and confronting the complexity of the mechanisms by which we judge writing to be factual, we can productively intervene in debates about writing’s veracity, and more broadly, we can better understand why we tend to discount divergent views on facts.

from The Centrality of Style Edited by Mike Duncan and Star Medzerian Vanguri

Crystal N Fodrey

This chapter makes the following argument: Undergraduates studying essayistic composing—especially those at the beginner or intermediate level—can benefit from stylistic instruction just as other composition students can. Regardless of whether a creative nonfiction course is housed in composition or creative writing, style study in such courses has the potential to demystify what makes flash essays, travel memoirs, literary journalism, nature writing, and so on, different from the more traditional forms of academic writing to which they are accustomed. Teaching the importance of style analysis and production helps students new to the genre of creative nonfiction understand what it means when they are asked to write in an open, identification-seeking, literary way.

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Stacey Korson

Sheffield Maravilla

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