Bachelor of Secondary Education Department

Reaccredited Level IV by the Accrediting Agency of Chartered Colleges and Universities of the
Philippines

PROFESSIONAL
PROFESSIONAL EDUCATION
EDUCATION
DEPARTMENT
DEPARTMENT
EDUC 206
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 1 Course Title 3

2 About the
Author 4
3 Course
Description 5
Course Outline
CONTENTS

4
6
5 Rationale 7

10
6 Course
Outcomes 8
User Guide 10
7
11 References 2|Page

9
8
23
Activity
Chapter
Self Time!
7: Artistic
Republic of the Philippines
TARLAC STATE UNIVERSITY
COLLEGE OF TEACHER EDUCATION
Undergraduate School
Villa Lucinda Campus, Tarlac City

COURSE
TITLE
ABOUT THE AUTHOR

BUILDING AND
ENHANCING NEW
LITERACIES ACROSS
THE CURRICULUM
Course: EDUC
206

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4|Page
 DR. JESSICA MARIE I. DELA PEŇA
Associate Professor 3
jemariedelapena@yahoo.com
jmidelapena@tsu.edu.ph

MS. SHEILA MARIE O. DAVID

Faculty
Tarlac State University
College of Teacher Education smdavid@tsu.edu.ph

MS. ROSE ANN SUMAOANG TUBAY

Faculty
Tarlac State University
College of Teacher Education
tubay.123@yahoo.com

MS. FRINCESS T. FLORES

Lecturer
Tarlac State University
College of Teacher Education
ftflores@tsu.edu.ph

COURSE
DESCRIPTION
This course introduces the concepts of new literacies in the 21st
Century as an evolving social phenomena and shared cultural
practices across learning areas.

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The 21st century literacies shall include
(a) globalization and multicultural
literacy; (b) social literacy; (c) media
6|Page
 COURSE OUTLINE

Course Content/Subject Matter

Week 1 A. Orientation on the TSU Vision, Mission and

Core Values; College of Teacher Education
Goal and Objectives;

Week 2 B. Introduction to 21st Century Literacies

Week 3-5 C. Globalization and Multicultural Literacies

Week 6 D. Social Literacy

Week 7-8 E. Financial Literacy

Week 9 F. Midterm Examination

Week10-12 G. Media and Cyber or Digital Literacies

Week 13 H. Ecological Literacy

Week 14-15 I. Artistic and Creative Literacy

Week 16-17 J. Critical Literacy

Week 18 N. Final Examination

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 RATIONALE

EDUC 206 – BUILDING AND ENHANCING NEW

LITERACIES ACROSS THE CURRICULUM is designed in
response to the needs and demands of the 21st century learners. The
key concept of this course is to make the learners understand the
different 21st century literacies, specifically identifying the ways to
possess new skills, competencies, and dispositions.
The 21st century literacies shall include (a) globalization and
multicultural literacy; (b) social literacy; (c) media literacy; (d)
financial literacy; (e) cyber literacy/ digital literacy; (f) Eco literacy
and (g) arts and creativity literacy. Field-based interdisciplinary
explorations and other teaching strategies shall be used in this course.
The 7th chapter of the course will be the focus of this module. The 7 th
chapter of the course deals on the views of artistic literacy: the value
of arts to education and to practical life, and creative literacy; the
approaches that cultivates arts and creativity among learners.
This course delivered via distance learning will enable students to
complete the academic work in a flexible manner, completely online.
Course materials and access to an online learning management system
will be made available to each student. Online assignments will be
submitted before the start of the next class meeting to provide more
time for the students to make what is due. Midterm and final
requirements are required for course completion. Quizzes and graded
recitations are expected every meeting. The assigned faculty 8 will
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serve as the moderator and facilitator throughout the 18-week course.
 COURSE
OUTCOMES

At the end of the semester, a student completing this course should be

able to:
• Explain and use key concepts of 21st century literacies in relevant
contexts;
• Articulate the rootedness of literacy and education in philosophical,
socio-cultural, historical, psychological, and political contexts;
• Demonstrate sensitivity to cultural and linguistic diversity through
different activities;
• Work collaboratively in a group setting regardless of race, age, status,
and gender;
• Apply skills in the development and utilization of ICT to accomplish
experiential activities and tasks; and
• Analyze and discuss critically the major issues that revolve around the
nature of the 21st century literacies;
• Devise and participate in artistic and creative works, and sustainable
field-based projects; and
• Demonstrate action competence, key competencies, and meta-
competencies in executing various activities in the course.

“Press forward. Do not stop, do not linger in your

journey, but strive for the mark set before you.” —
George Whitefield
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 What can you
expect to find in
this module?

TOPIC

Artistic and Creative Literacy

Create and share artistic and creative works.

Determine the implications of artistic and creative
literacy to one’s own development.
Contribute meaningfully to online/offline class by
responding to raised questions and identifying
own questions about the subject matter.

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 USER
GUIDE

This module serves as a guide in understanding one unit or chapter under

EDUC 206. It consists of the following sections:

(a) introductory guide: to establish common ground and familiarize you with
the course title, description along with the rationale of this chapter/module;
(b) pre-test: to gauge your prior knowledge about the lesson;
(c) learning objectives: to set the expected outcomes or skills to be learned in
this chapter;
(d) content (with preparatory, developmental and closure activities): to impart
knowledge, skills, and abilities through this mode prepared by the instructor;
(e) synthesis/generalization: to outline the focal points that you need to
remember in this chapter;
(f) evaluation: to check your level of understanding of the concepts explored
in this chapter;
(g) assignment/agreement: to encourage the continuity of learning; and
(h) references: to enlist the available resources used for this chapter and give
due credit to the intellectual properties of the authors.

Note: You can re-read the chapter/module anytime. However, the activities
should be answered or completed based on the schedule and/or instructions set
by the instructor.
The activities are set to be recorded and/or graded by the instructor.
Should you have questions, difficulties, or clarifications, feel free to contact
the instructor.
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Chapter 7
ARTISTIC AND CREATIVE
LITERACY
Terms to Remember
form quality
content arts
flexibility creative aesthetic
imagination

CREATIVITY CHECK!

PRE-TEST
Complete the Incomplete Figure Test
Direction: Showcase your creativity by finishing the picture below. Higher
points will be awarded for images that included rich imagery, implied
narrative, or used humor or fantasy.

A classic test of creativity, the Torrance test of Creative Thinking by Ellis Paul Torrance.

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 Learning Objectives
At the end of this module, the student should be able to:

 characterize artistic literacy;

 discuss the value of Arts to education and practical life;

 identify approaches to developing/designing curriculum that cultivates the

arts and creativity among learners:

 formulate a personal definition of creativity; and

 design creative and innovative classroom activities for specific topic and
grade level of students.

Key Concepts
What is Artistic Literacy?
Arts, as defined by Boundless (n.d.), is a highly diverse range of human activities engaged in
creating visual, auditory, or performed artifacts— artworks—that express the author’s
imaginative or technical skill, and are intended to be appreciated for their beauty or emotional
power. A fundamental purpose common to most art forms is the underlying intention to appeal
to, and connect with, human emotion. However, the term is incredibly broad and is broken up
into numerous sub-categories that lead to utilitarian, decorative, therapeutic, communicative, and
intellectual ends. In its broadest form, art may be considered an exploration of the human
condition, or a product of the human experience.
Meanwhile, creativity is defined by dictionaries as the use of imagination or original ideas to
create something, and to come up with a new,
unique, original, surprising idea. In addition,
creativity is defined as the tendency to
generate or recognize ideas, alternatives, or
possibilities that may be useful in solving
problems, communicating with others, and
entertaining ourselves and others according to
Franken (n.d.) in Hardy (2007).
Literacy, on one hand, has been defined
repeatedly on the previous modules. However, to
refresh the minds of students about its
meaning we can briefly say that it is the

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person's knowledge of a particular subject or field following its initial ability which is to read
and write.

Considering the definitions given for the terms concerning artistic literacy, we can somehow
define it as the ability to understand arts and its complexities. Similarly, National Coalition for
Core Arts Standards: A Conceptual Framework for Arts Learning (2014) in Alata & Ignacio
(2019) defined Artistic literacy as the knowledge and understanding required to participate
authentically in the arts. While individuals can learn about dance, media, music, theatre, and
visual arts through reading print texts, artistic literacy requires that they engage in artistic
creation processes directly through the use of materials (such as charcoal or paint or clay,
musical instruments or scores...) and in specific spaces (concert halls, stages, dance rehearsal
spaces, arts studios and computer labs.
According to Eisner (2002), MENC (1996), and Perso, et.al. (2011) in Alata & Ignacio (2019),
the researches have recognized that there are significant benefits on arts to learning and
engagement in schooling. The arts have been shown to create environments and conditions that
result in improved academic, social, and behavioral outcomes for students, from early childhood
through the early and later years of schooling. However, due to the range of art forms and the
diversity and complexity of programs and research that have been implemented, it is difficult to
generalize findings concerning the strength of the relationships between the arts and learning and
the casual mechanisms underpinning these associations (Alata & Ignacio, 92).
A range of practices listed below are for students to embody when dealing with the complexities
of art forms
Alata and Ignacio (2019) listed that the students must:
 use their minds in verbal and nonverbal ways;
 communicate complex ideas in a variety of
forms;
 understand words, sounds, or images;
 imagine new possibilities; and
 persevere to reach goals and make them
happen

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However, several ways were introduced online by Wing (2018). The following are series of
images showing creative literacy ideas from A to Z.

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As stated by Shenfield (2015) in Alata & Ignacio (2019), engaging in quality arts education
experiences provides students with an outlet for powerful creative expression, communication,
aesthetically rich understanding and connection to the world around them. Being able to
critically read, write, and speak about art should not be the sole constituting factors for what
counts as literacy in the arts. Moreover, according to Alata & Ignacio (2019), there still the need
for further studies, researches, discoveries, dialogues and discussions to have a better
understanding and knowledge when dealing with arts, and to have a deeper picture to creativity.
The cultivation of imagination and creativity and the formation of deeper theory surrounding
multimodality and multi-literacies in the Arts are deemed significant.
The eight benefits that can be gained from Arts according to Eliot Eisner in Alata & Ignacio
(2019)
1. Form and content cannot be separated. How something is said or done shapes the
content of experience.
In education, how something is taught, how curricula are organized, and how schools
are designed impact upon what students will learn. These “side-effects” may be the real
main effects of practice.
2. Everything interacts; there is no content without form and no form without content.
When the content of a form is changed, so too, is the form altered. form and content are
like the two sides of a coin.
3. Nuance matters. To the extent to which teaching is an art, attention to nuance is
critical.
It can also be said that the aesthetic lives in the details that the maker can shape in the
course of creation. How a word is spoken, how a gesture is made, and how a melody is
played, all affect the character of the whole. All depend upon the modulation of the
nuances that constitute the act.
4. Surprise is not to be seen as an intruder in the process of inquiry, but as a part of the
rewards one reaps when working artistically.
No surprise, no discovery, no progress. Educators should not resist surprise, but create
the conditions to make it happen. It is one of the most powerful sources of intrinsic
satisfaction.
5. Slowing down perception is the most promising way to see what is actually there.
It is true that we have certain words to designate high levels of intelligence. We describe
somebody as being swift, or bright, or snap, or fast on the pickup. Speed in its swift
state is a descriptor for hose we call smart. Yet, one of the qualities we ought to be
promoting in our schools is a slowing down of perception; the ability to take one’s time,
to smell the flowers, to really perceive in the Deweyan sense, and not merely to
recognize what one looks at.
6. The limits of language are not the limits of cognition. We know more than we can
tell.
In common terms, literacy refers essentially to the ability to read and to write. But
literacy can be re-conceptualized as the creation and use of a form of representation that
will enable one to create meaning – meaning that will not take the impress of language
in its conventional form. In addition, literacy is associated with high- level forms of
cognition. We tend to think that in order to know, one has to be able to say. However, as

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 Polanyi (1969) reminds us, we know more than we can tell.
7. Somatic experience is one of the most important indicators that someone has gotten it
right.
Related to the multiple ways in which we represent the world through our multiple
forms of literacy is the way in which we come to know the world through the
entailments of our body. Sometimes one knows a process or an event through one’s
skin.
8. Open-ended tasks permit the exercise of imagination, and an exercise of the
imagination is one of the most important of human aptitudes.
It is imagination, not necessity, that is the mother of invention. Imagination is the source
of new possibilities. In the arts, imagination is a primary virtue. So, it should be in the
teaching of mathematics, in all of the sciences, in history, and indeed, in virtually all
that humans create. This achievement would require for its realization a culture of
schooling in which the imaginative aspects of the human condition were made possible.

Characterizing Artistically Literate Individuals

Artistic literacy is a human right and a teachable
skill. It is the ability to connect both personally
and meaningfully to works of art and, through this
process, to forge connections to our humanity and
the humanity of others. But how would you
characterize an artistically literate individual?
Literature on art education and art standards in
education in Alata & Ignacio (2019) cited the
following as common traits of artistically literate
individuals:
Artistically literate individuals use a variety of artistic media, symbols, and metaphors to
communicate their own ideas and respond to the artistic communications of others;
Artistically literate individuals develop creative personal realization in at least one art form in
which they continue active involvement as an adult;
Artistically literate individuals cultivate culture, history, and other connections through diverse
forms and genres of artwork;
Artistically literate individuals find joy, inspiration, peace, intellectual stimulation, and meaning
when they participate in the arts; and
Artistically literate individuals seek artistic experiences and support the arts in the communities.
Issues in Teaching Creativity
Creativity is an exciting topic in school education, and as an educator, teacher must be actively
involved in the teaching and promotion of creativity in schools. However, there are various
problems and issues confronting both teacher educators, teachers, and students. HUI (2003) in

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his study entitled Problems and Issues of the Teaching and Learning of Creativity in Hong Kong
Schools, stated that in enhancing effective teaching and learning of creativity, educators in
various parts of the world tend to choose the easy way to accomplish the goal. Thus, the current
focus in creativity assessment is primarily on the creativity potential or attributes – that is, the
traits and behavioral tendencies of learners in comparison with well-known creative persons.
Judgment and measurement paid to the actual outcomes of creation have not been vigorous. The
bias in the field towards the application of the Person-Process model, which focuses on creative
attributes or potentials and on the production activities, in understanding and promoting learners’
creativity has made the study and teaching of creativity rather superficial. Thus, in many schools
in Hong Kong, teachers merely ask their students to come up with new ideas about (or ways of)
doing things and then label those acts as creative. They have in effect disregard the true essence
of art and creativity.
Similarly, Alata & Ignacio (2019) shared what Sir Ken Robinson (Do schools kill creativity?
2006; How to escape education’s Death Valley? 2013) stressed paradigms in the education
system that hamper the development of creative capacity among learners. He pointed that
schools stigmatize mistakes. This primarily prevents students from trying and coming up with
original ideas. Also, he reiterated that arts were not prioritize as a subject, and academic ability
has come to dominate our view of excellence. Curriculum competencies, classroom experiences,
and assessment are geared toward the development of academic ability. Students are schooled in
order to pass entrance exams in colleges and universities later on. Truth honestly hurts. Due to
this painful truth, Robinson challenged the educators. First in the list for educators is to educate
the well-being of learners and shift from the conventional learnings toward academic ability
alone. Next is to give equal weight to the arts, the humanities, and to physical education. Another
is to facilitate learning and work
toward stimulating curiosity
among learners. Awaken and
develop powers of creativity
among learners, and view
intelligence as diverse, dynamic,
and distinct, contrary to common
belief that is should be academic
ability-geared are the last two
among the challenges.
Along the same line, Hui (2003) shared an insight on how to enriched creativity among teachers
and students. According to him, creativity is also regarded as the expression of a higher-level
educational skill. It takes substantial effort for schools, teachers, parents, and the community to
make students treasure and develop creative thinking. It also takes innovative teaching strategies
to nurture children to become more sensitive to environmental stimuli. Teachers should
encourage students to repeatedly tackle objects and ideas and develop their tolerance for new
ideas as well as to teach them how to test ideas (Meador, 2001 in Hui (2003). However, the
development of these traits, thinking skills, and behavioral tendencies, which are major
components of academic creativity (Torrance & Goff, 1990 in HUI (2003), still do not

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themselves guarantee the occurrence of creativity. Based on Hui’s personal experience, he stated
that when students mistakenly focus merely on traits and processes, that is, applying only the
Person-Process model, they could erroneously steer themselves toward becoming uncreative.
After all, one could hardly be considered, by definition, creative if the product or outcome
produced lacks the properties that satisfy the criteria of novelty and practicality. I have observed
in too many classrooms that teachers have been committing this error. To rectify, the Person-
Process model must be discarded, and be replaced by a Person-Process-Product model (Cropley,
2000 in HUI (2003). In other words, to effectuate creativity education in schools and universities
in Hong Kong, learners must have their attention directed to the appropriate traits, to the process
of creating, and to the values of the product (outcome or output in form of tangible work,
expression, response, inquiry, solution, or even a vision (Giorgis & Johnson, 2001 in HUI
(2003)). Only then can learners have a full exposure to the experience of being creative and fully
develop skills that are essential to making creation a reality.
Teaching creativity to the young would be challenging for most of the educators. As mentioned
Alata & Ignacio (2019) that in “First Literacies: Art, Creativity, Play, Constructive Meaning-
Making,” MCArdie and Wright asserted that educators should make deliberate connections with
children’s first literacies of art and play. a recommended new approach to early childhood
pedagogy would emphasize children’s embodied experience though drawing. This would include
a focus on children’s creation, manipulation, and changing of meaning through engaged
interaction with art materials (Dourish, 2001 in Alata & Ignacio (2019)), through physical,
emotional, and social immersion (Anderson, 2003 in Alata & Ignacio (2019)). The authors
proposed four essential components of developing or designing curriculum that cultivates
students’ artistic and creative literacy. Such approaches actively encourage the creative,
constructive thinking involved in meaning making which are fundamental to the development of
the systems of reading, writing, and numbering (Alata & Ignacio, 2019).
1. Imagination and pretense, fantasy and metaphor

A creative curriculum will not simply allow, but will actively support play and
playfulness. The teacher will plan for learning and teaching opportunities for children to
be, at once, who they are and who they are not, transforming reality, building narratives,
and mastering and manipulating signs and symbol systems.

2. Active menu to meaning making

In a classroom where children can choose to draw, write, paint, or play in the way that
suits their purpose and/ or mood, literacy learning and arts learning will inform and
support each other.

3. Intentional, holistic teaching

A creative curriculum requires a creative teacher, who understands the creative processes,
and purposely supports learners in their experiences. Intentional teaching does not mean

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 drill and rote learning and, indeed, endless rote learning exercises might indicate the very
opposite of intentional teaching. What makes for intentional teaching is thoughtfulness
and purpose, and this could occur in such activities as reading a story, adding a prop.
drawing children’s attention to a spider’s web, and playing with rhythm and rhyme. Even
the thoughtful and intentional imposing of constraints can lead to creativity.

4. Co-player, co-artist

Educators must be reminded of the importance of understanding children as current

citizens, with capacities and capabilities in the here and now. It is vital for teachers to
know and appreciate children and what they know by being mindful of the present and
making time conversation, interacting with the children as they draw. Teachers must try
to avoid letting the busy management work of their days take precedence and distract
them from the “being”.

Advance Reading
Make an advance reading about Critical literacy
Activity Time!

HOW CREATIVE ARE YOU?

Direction: Choose one from the given activities below.
1. PHOTO STORY
Create and Narrate.
Create a story using series of pictures, and narrate the story by writing it down using an extra
clean sheet of paper.
2. VLOG AND PLAY!
Create a 5-minute vlog, and upload it in MS TEAMS. Let your classmates watch it and drop
some comments about it.
3. BULLETIN BOARD
Design your own bulletin. Use your creativity as you conceptualize a bulletin using apps from
your electronic gadgets (e.i. photo editor). Upload your bulletin in MS Teams.
Just a Reminder!
Be creative in everything that you for that will be basis of your grade.
Criteria!
Creativity – 80 %
Content – 20 %
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 Self- Assessment

POST-TEST
HOW MUCH DO YOU REMEMBER?

Direction: Expound the following terminologies and topics in a

complete paragraph based on the pertinent information presented on
the previous pages, and on your own understanding. Use a separate
paper for your answers.

Terminologies:

1. Arts

2. Creativity

3. Literacy

4. Artistry

Topics:

1. Why do we need creativity? Why do we need to be creative?

2. What are the implications of creativity and artistry to student’s

education, and to teacher’s lesson presentation?

REFERENCES
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Main Textbook:
Alata, E.J.P. and Ignacio, E.J.T. (2019). Building and Enhancing New Literacies Across the
Curriculum, First ed. Metro Manila, Philippines: REX Book Store.

Other References:

Boundless, N. (n.d.). Boundless Art History. Retrieved August, 2020, from

https://courses.lumenlearning.com/boundless-arthistory/chapter/what-is-art/

Hardy, D. (2007). The Psychology of Creativity. Retrieved August 08, 2020, from
http://www.csun.edu/~vcpsy00h/creativity/define.htm

HUI, M. (2003). Problems and Issues of the Teaching and Learning of Creativity in Hong Kong
Schools. Retrieved 2020, from
https://pdfs.semanticscholar.org/5ee2/534cbd41a738e2d5259f962af68b26df254f.pdf

N/a, N. (2020). Literacy in the creative arts. Retrieved August 16, 2020, from
https://education.nsw.gov.au/teaching-and-learning/curriculum/key-learning-areas/creative-
arts/early-stage-1-to-stage-3/literacy-in-the-creative-arts

Wing, E. (2018). Creativity and Literacy. Retrieved August 01, 2020, from
http://homeliteracyblueprint.com/creativity-and-literacy/

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