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COURSE SYLLABUS

Course Code : Art 11

Course Title : Art Appreciation
Semester : 1st Semester, S.Y. 2021-2021
Credit : 3 Units
Hours/Week : (54 hours) 3 Hours/Week
Date Updated : August 16, 2021
Subject in-charge : John Henry B. Tampoy

VISION:
KSU: A Knowledge and Technology Hub in Asia-Pacific Region

MISSION:

Kalinga State University shall primarily provide higher and advanced education, professional instruction and training in the arts, agriculture, forestry,
social and natural sciences and technology, and other relevant fields of studies. It shall also promote and undertake research and extension services, and
provide progressive leadership in its areas of specialization.

QUALITY POLICY:

Kalinga State University is committed to provide quality education and engage in relevant research and effective extension services that satisfy the
needs of its stakeholders towards sustainable development.
Steadfast in its commitment to develop human resource of Kalinga, the Philippines and the Asia Pacific.
United to continuously improve the effectiveness of its Quality Management System.

I. COURSE DESCRIPTION:

Kalinga State University wishes to develop its art and music programs. As a reminder, it is vital to cultivate students in the fields of art and music by
correctly teaching them, inspiring them, and boosting their abilities and talents.

Art Appreciation is a three-unit course that helps students understand, appreciate, and analyze works of art. This course provides students with a
broad awareness of the practical, historical, philosophical, and social relevance of the arts, as well as the ability to articulate their understanding of the arts
through multidisciplinary and multimodal approaches. Students' ability to study and curate art, as well as to conceptualize, mount, and evaluate art creations,
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is also enhanced in this course. The course seeks to foster students' true love for Philippine arts by allowing them to discover the diversity and depth of the
country's cultural heritage. Students' skills in researching and curating art, as well as planning, presenting, and assessing art works, are honed in this course.
The course aims to cultivate students' true appreciation for Philippine arts by giving them the opportunity to explore the diversity and depth of Filipino culture,
as well as their own roots in it.

II. COURSE/INSTRUCTIONAL OBJECTIVES:

At the end of the course, the students should be able to:

Knowledge

- Demonstrate an Understanding and Appreciation of arts in general, including their function, value, and historical significance
- Define and demonstrate the elements and principles of design
- Explain and evaluate different theories of art
- Situate Philippine arts in a global context

Skills

- Analyze and appraise works of art based on aesthetic value, historical context, tradition, and social relevance
- Mount an art exhibit (concept development, production and postproduction, marketing, documentation, critiquing)
- Create their own works of art and accurate their own production or exhibit
- Utilize art for self-expression and promoting advocacies

Values

- Deepen their sensitivity to self, community, and society

- Discover and deepen their identity through art with respect to their nationality, culture, and religion
- Develop an appreciation of the local arts

III. COURSE REQUIREMENTS:

 Quizzes and seat works

IV. GRADING SYSTEM:

Midterm Grade (MG) = (Class Standing x 60% + 40% Midterm Examination)

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Tentative Final Grade (TFG) = 60% Final Examination + 40% Class Standing)

FINAL GRADE (FG) = (40% Midterm Grade + 60% Final Grade)

Midterm
Classroom activities 20%
Quizzes (Seat and Group works) 40%
Exams 40%
100%
Finals
Classroom activities 10%
Quizzes 30%
Exams 50%
Project/requirement 10%
100%

Legend
L = Learned P = Practiced O = Opportunity to learn

V. TEACHING APPROACHES, METHODS AND STRATEGIES:

- PowerPoint presentations, Lectures and discussions, Critical thinking and Brainstorming

VI. COURSE OUTLINE:

TIME FRAME COURSE OUTLINE

Week 1 A. VMGO, Classroom policies, Grading system, Requirements, Relevance of the course, Course outline.
B. Assumptions and Nature of Arts: Creativity, Imagination
C. Functions of Art and Philosophy
Week 2 D. Subject and Content
Weeks 3-4 E. Art and Artisan; Production Process, Medium, Technique, Curation
Week 5-6 F. Elements and Principles of Arts
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Weeks 7-12 G. Art History (Asian, Western, Philippines)

Week 13 H. Soul making (Soul, Sound, Structure)
14-15 I. Workshops on Improvisations, Installation, Transaction
16-17 J. Art in Asia
18 K. Local Arts

VALUES: Integrity, diligence, discipline, open-mindedness, consistency, creativity,

Ingenuity, innovativeness, orderliness, independence, accuracy, efficiency

Intended (ILO)/Desired (DLO) Course Content/ Subject Time Teaching-Learning Resource Materials Assessment Tasks Remark
Learning Outcomes Matter Frame Activities (TLAs) (ATs) s

To determine students’ I. VMGO and 4.5 Zoom/Google meet University/student

expectations of the course KSU Quality Policy hrs. online discussion Handbook Oral Recitation
And KSU Hymn singing
Know, memorize by heart and Individual Quiz
understand the school’s vision, Classroom Policies Performance Task
mission, Quality Policy, KSU (Singing and Group/Individual
Hymn their institute’s goals Grading System Recitation) activity
and degree program’s
objectives Course Content
(Week 1)
Recognize their role in the
realization of this VGMO

Be acquainted with classroom

policies, rules and regulations

- Clarify misconceptions about II. Assumptions and Nature of 4.5 Lecture Art Perception and Oral Recitation
art Arts: Creativity, Imagination hrs. Dynamics Appreciation, Ortiz et al.,
1976. Pp. 5-12 Quiz
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- Differentiate art from Nature Guide questions:

“Art is good because The humanities, Dudley Group/Individual
- Categorize works of art by it is popular” or “Art is and Faricy, 1968, pp. 5- activity
citing personal experiences good because it is 22 (Nature of Art)
universal” Insight Paper:
- Characterize the assumption A Lampat: An Student will select
of arts Why is art universal? Introduction to Art from the following
Appreciation, Perez, topics:
Why is art not Cayas, and Nariso, 2013,
nature? pp. 9-12, 15-21  Why is art
(imagination) pp. 38-40 ageless and
Why does art timeless?
demand  Why is art
involvement? not nature?
 Why does art
Suggested activity: involve
debate experience?

- Distinguish between directly III. Functions of Art: 4.5 Individual sharing: Dayaw (6 episodes), Oral Recitation
functional and indirectly  Personal (Utilitarian, hrs. What art form/artwork Legarda, 2015, online
functional art public display, has changed Quiz
expression) something in your Art: Perception and
- Apply concepts and theories  Social (used for public life? Why? Appreciation, Ortiz et al., Group discussion
on beauty and aesthetics in display and 1978. Pp. 27-32 and plenary
real life scenarios celebration, used to Film Viewing: presentation
affect the collective 1. Video Alampat: An Introduction
behavior) Documentary “Sa to Art Appreciation, Reflection
 Physical (utilitarian) Duyan ng Sining” Perez, Cayas, and Questions: Does art
Philosophical import of art (Jesuit Narciso, 2013, pp. 23-25 always have a
 Integrity Communications) function?
 Proportion/Consonanc 2. Tuklas sining Cultural Center of the
e Discuss basic Philippines, Tuklas If artwork did not
 Radiance/Clarity philosophical Sining, DVD have any function,
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perspective such as: will it remain art?

3. Art as mimesis “The Philosophical
(Plato) Conept of Beauty,”
4. Art as Jacques Maritain (from
representation Creative Intuition in Art
(Aristotle) and Poetry), 1953, pp.
5. Art for art’s sake 122-127
(Kant)
6. Art as an escape Aesthetics and Art
7. Art as functional Theory, Osborne, 1970,
pp. 104-107, 142-144,
171-191, 226-283

- Differentiate content from
subject
- Classify artworks according
to subject
- Analyze how artists present
their subjects in relation to the
real subject
- Characterize sources and
kinds of art
IV. Subject and Content 4.5 Lecture
Representation (with hrs.
subject) and non- Provide classic
representational (without examples
subject)
What are the two
Source of Subject types of representing
(nature, history, Greek, and subject?
Roman Mythology, Judeo-
Christian tradition, sacred What are the sources
oriental texts, other works of and kinds of subject?
art)
Assign students to
Kinds of subject (history, still bring either digital or
life, animals, figures, nature, printed copies of
landscape, seascape, Filipino contemporary
cityscape, mythology, myth, artworks to be
dreams, and fantasies) presented orally or
using PowerPoint;
Content in Art (levels of Identify and discuss
meaning) the subject, source,
Alamat: An Introduction Oral Recitation
to Art Appreciation,
Perez, Cayas, and Quiz
Narciso, 2013, pp. 27-34
Group/Individual
Cultural Appropriation activity
and the Arts, Young,
2008, pp. 14-26
Gallery Visit
Art, Perception and
Appreciation, Ortiz et al., Reflection paper on
1978, pp. 14-26 students’
experiences during
visit to a gallery or
museum

COLLEGE OF ENGINEERING & INFORMATION TECHNOLOGY
- Outline the history of the
emergence of artists and
artisans;
- Recognize and critically
discuss the function of state
sponsorship in the field of arts
and culture through the
National Artist Award and the
Gawd sa Manlilikha ng Bayan
(GAMBA)
- Identify and define the
different individuals and
groups who take on varied
roles in the world of art and
culture
- Classify the practices of
artists in terms of form,
medium, and technique
Kalinga State University
DEPARTMENT OF SOCIAL SCIENCES
Bulanao, Tabuk City, Kalinga
1. Factual
2. Conventional
3. Subjective
V. Art and Artisan; Production
Process, Medium, Technique,
Curation
Managers, Curators, buyers,
collectors, art dealers
Production process
(preproduction, production,
and postproduction)
Medium, Technique approach
(in visual arts, auditory, and
combined arts)
GAMABA National artists
Events/Exhibits/Managing
Audience
Doc. Ref. No.
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Revision No.
Page No. Page 7 of 15
type, and kind of
subject
4.5 Video Documentary Myths and Symbols Oral Recitation
hrs. Philippines, Francisco
Lecture Demetrio, SJ, 1978, pp. Quiz
406-411
Topics to be Group/Individual
discussed: Alampat: An introduction activity
1. What is the to Art Appreciation,
difference between Perez, Cayas, and Organize a forum
artists and artisan? Narciso, 2013, pp. 35-56 about n artist; artist’s
What is the or artisn’s brochure
relationship between MAKING THE THEATRE nd video clip to be
artists and artisans? THE Craft of the Stage, uploaded on social
Steven Ptrick C. media (Note: before
2. What is more Fernandez, 2010, pp. 15- uploading, the
important, the artist 20 teacher will check
or the artwork? the output for
“Pioneers of Philippine validation and
3. What are medium Art,” video documentary observance of
and technique? directed by F. ethics)
Capistrano-Baker, Ayala
4. What are new Museum, 2006, 29min. Preliminary
trends or practices in examination
art? Art: Perception and
Appreciation, Ortiz et al., Exhibit of Artists’
5. What is the role of 1978, pp. 14-26, 40-73 and artisans’
the following figure portfolio
(managers, curators, Festival and Events Mini-exhibit of
buyers, collectors, art Management, Yeoman et artist’/artisans’ work
dealers) in the al., 2004, pp. 53-115

COLLEGE OF ENGINEERING & INFORMATION TECHNOLOGY
- Identify the elements of art
- Analyze the various elements
present in visual, auditory, and
combined arts
- Determine dominant
elements used in hybrid or
modified art expressions
- Determine the factors
influencing artists such as
distortion, transformation,
appropriation in an
experimental or hybrid art
expression
Kalinga State University
DEPARTMENT OF SOCIAL SCIENCES
Bulanao, Tabuk City, Kalinga
VII. Elements and
Principles of Art
1. Elements of Art
1. Visual
2. Auditory
3. Combined
2. Arts/Performance art
3. Discuss fusions and
overlapping and
interrelated elements
- Graffiti, poetry-performance,
performance art, digital art
4. Transcreation
Doc. Ref. No.
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Revision No.
Page No. Page 8 of 15
community?
The Role of the Art Critic,
6. Students will be Flores, in Paleta 5: A
assigned to discuss Handbook for Visual
the characterization Artists, ed. Hernandez,
of different art 2002, pp. 27-31
expressions (7 arts)
How to Document One’s
7. Interview of Work, Cajipe-Endaya, in
artists/studio visit (off Palet 5: A Handbook for
campus) Visual Artist, 2002, pp.
24-26
How to Document a
Structure, R T Jose,
Balangkas, 2007, pp. 25-
28
4.5 Lecture/Illustration/Di Sining at Lipunan, Flores Oral Recitation
hrs. scuss basic elements and De la Paz, 2000, pp.
24-26 Quiz (identification)
Assign students to
discuss the elements Art in Focus, Interactive Group/Individual
of the 7 arts (visual Student activity
arts, film, literature, Ed., Gene A. Mittler,
dance, film, 2006, pp. 26-39 Essay
architecture, music), (Elements), pp. 40-49
then conduct an (Principles)
Alampat: An Introduction
to Art Appreciation,
Perez, Cyas, and Nrciso,
2013, pp. 97-106
(Principles)
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- Identify the principles of
design
- Define and translate
principles of design in an
artwork
- Create an artwork depicting
the various principles of design
- Music to text
- Text to dance Art Perception and
- Dance to visual Appreciation, Ortiz et.,
1978, pp. 75-179
5. Principles of Design
- Unity and Harmony Merce Cunningham: Fifty
- Rhythm, variation Years, Vughan and
- Blanc end proportion Harris, 1997, pp. 10, 60-
- Emphasis and 61, 100-101 (dance
Subordination (focal-point) technique)

A. The Rule of Thirds

Midterm Period Partial Requirement:
- Present an experimental art expression based on recent issues in society fusing art and reality; unction and beauty; weaving sound, image, form, scent,
and space. Students will submit a concept paper or script and production in specific site, either physical stage or mobile, web (on-line) or any form of
guerilla art expression. Prior to the performance, concept paper must be submitted for guidance and critiquing. Posters, audience evaluation, and
documentation will be required and will be submitted after the performance. Running time will be based on the concept.
- A paper that analyzes their own respective topics; comparison, difference of factors, influential persons, styles, subject, technique affecting the era or
movement; notable artists and works; semiotic plane, iconic plane, contextual plane, and evaluative plane

- Discuss how art was used by
prehistoric people to depict
everyday life
- Identify the central themes of
prehistoric art
- differentiate the techniques
used during the three kingdom
of early Egypt
- Explain how art is linked with
religion in early Egyptian
civilization
- Identify various planes in art
- Categorize and organize
VIII. Art History 4.5 Lecture Image to meaning: Red the research
1. Prehistoric Art hrs. Essays on Philippine about selected
2. Art in Early Civilization Demonstration Arts, Alice Guillermo, Western and Asian
3. Art of Emerging Europe simulation 2001, pp. 1-16 Art
4. Caught in Between:
Modern and Contemporary Gardner’s Art through the
5. Cave art, Egyptian and Ages: A Concise History
Greek of Western Art, Fred S.
6. Roman Medieval Kleiner, 3rd ed., 2012, pp.
7. Chinese Painting, Ukiyo-e 1-2
(Japanese print)
Art through the Ages: A
8. Renaissance and Global History. Kleiner,
Mannerism, Baroque and 15th ed., 2016, pp. 1032-

COLLEGE OF ENGINEERING & INFORMATION TECHNOLOGY
information from different
sources
- Identify the various genres in
music
- make a creative interpretation
of the different musical genres
- Translate sound or music into
a new form and in a new
context
Kalinga State University
DEPARTMENT OF SOCIAL SCIENCES
Bulanao, Tabuk City, Kalinga
Rococo
9. Neo-classicism, Romantic,
and Realism
10. Impressionism
11. Post-impressionism
12. Neo-impressionism
13. Symbolism, Art Nouveau
14. Fauvism and
Expressionism
15. Cubism, Futurism
16. Abstract or non-objective:
Dadaism and Surrealism
Art History
A. Instrumental Music
- Baroque
- Classical
- Romantic
- Modern
Doc. Ref. No.
Effective Date
Revision No.
Page No.
1047 (South and
Southeast Asia, 1200-
Creative Presentation 1980), pp. 1064-1066
(Japan, 1333-1980), pp.
Gallery walk 99-1031 (Contemporary
Games Art Worldwide), pp. 948-
993 (Modernism and
Video Documentary Postmodernism in
Europe and America,
1945-1980)
Art in Focus, Mittler,
2006, pp. 136-471
(classic), pp. 492-562
(modern art)
4.5 Brief Lecture Music as Discourse:
hrs. Semiotic Adventures in
Creative Presentation Romantic Music, Agawu,
(from solo to group, 2009
depending on
students’ interests in The Human Image in the
art expression) Arts, Fernandez, 2009,
pp. 65-76
Art Perception and
Appreciation, Ortiz et al.,
1976, pp. 98-121
Who Needs Classical
Music? Cultural and
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Quiz
Oral Recitation
Brochure about their
respective topics
Long test (true or
false, identification,
fill in the blanks,
enumeration, essay)
Individual output
Creative
output/Presentation:
Student will interpret
music trough their
own art expressions
(music video, dance,
poetry, live painting,
film, digital art,
magic, experimental,
etc.)
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Musical Value, Johnson,

2002

- Explain how meanings can IX. Soul making/Art making 4.5 Lecture Soul making, Narciso, Oral Recitation
be derived from art (Soul, Sound, hrs. 2016
Structure): Demonstration Quiz
- Discuss how improvisation - Crafting images Mick Basa, The Soul
can make an artwork - Crafting stories Simulation Maker 2013, online Art Portfolio
distinctive - Crafting Instruments
performance Workshop Nature and Young Organize an
- Identify the issues and - 7 da Vincian Children, 2nd ed., advocacy art or
problems that can rise Principles Encouraging Creative immersion or
because of appropriation of art Play nd Lerning in workshop for the
Natural Environments, community
- Enhance students’ sensitivity Ruth Wilson, 2012, pp. 3-
and awareness toward their 17
environment
Dela Cruz et al., Art
Republik, 2012, video, 10
episodes

- Characterize and define X. Narratives, 4.5 Lecture Cultural Appropriation Creative output
narratives, appropriation, Appropriation, hrs. and the Arts, Young,
borrowings, and ownership of Borrowing, and Students are 2008, pp. 1-27 Students will
the artists or any agency in the Ownership assigned to look for appropriate an ad in
art world works that have been any form, take a
- Five acts of Cultural appropriated in any piture of it and
- Contextualize classical Appropriation form; Discuss and create another
notable works into a certain 1. Object appropriation compare the old and poster that
theme and comment on a 2. Content new meanings incorporates their
certain issue, either on a 3. Style Black Film as a new concept
personal or societal level 4. Motif appropriation Suggested topics: Signifying Practice:
5. Subject appropriation What contemporary Cine,a, Nrration and the Essay
- Develop students’ artistic art forms or art African-American
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ability in any form they would expressions utilize Aesthetics Trdition,

like to appropriate an arT the principle of Yearwood, 2000, p. 124-
appropriation? 129
Why do they
appropriate?
What art forms are
commonly
appropriated?

- Draw out metaphors from XI. Textile art Soul, dreams 4.5 Video documentary Hinabing Panaginip, Reflective Essay
local myths so students will and imagination hrs. Fruto
value cultural roots - Tnalak process Brief lecture Corre, Bookmark video, Quiz (multiple
- Tnalak nd T’boli art 1999 choice,
- Deepen students’ - Dagmay, Illustration enumeration,
understanding of imaging - Pis-ybit Seputangn Myth, Mimesis and Magic identification)
- Inaul Mind mapping in the Music of the Tboli,
Mora, 2005, p. 66-68

Alampat: An Introduction
to Art Appreciation,
Perez, Cayas, and
Narciso, 2013, pp. 34-40
(imagination)

- Analyze how line was
interpreted and utilized in
traditional crafts
- Develop students’ ability in
manipulating the elements of
art
- Document changes and the
shifting environment such as
XII. Visual Elements in Lecture Sourcebook of Philippine Quiz
Philippine traditional Traditional Motifs and
motifs and crafts Workshop Crafts Processes, Individual output
Marcelita Jose Dela with rubric
Decorative motifs and Cruz, 1982, pp. 18-34
symbols, classification Visual tapestry
Ukkil: Visual Arts of the
Sulu Archipelago, Ligaya
Fernando-Amilbangsa,
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Bulanao, Tabuk City, Kalinga

terrain, texture, sound through 2005, pp. 15-38

fusion of various elements of
art

- Determine the implications of XIII. Soul and Space Lecture The Maranaw Torogan, Oral recitation
soul and space for our society - Torogan Madale, 1996, pp. 7-31
Build miniature
- Ifugao Bale Video documentary
skeletal or structural
- Characterize how Filipinos - Bahay Kubo
stilt houses
utilize space to determine its - Bahay na Bato Collaborative artistic
implications for their identities, - Other Indigenous work Group activity with
history, religion, philosophy houses rubrics

- Discuss the concept of Okir XIV. Symmetry art Lecture Ukkil: Visual Arts of the Portfolio of Okir-
in relation to Islamic Art - Okir/Ukkil Sulu Archipelago, Ligaya inspired artworks in
Demonstration
Fernando-Amilbangsa, the city or
workshop
- Determine the cultural 2005, pp. 174-175 community
relevance of the Okir Locate okir inspired
artworks in the city Artistic output-
(paintings, drawings, symmetry art
architecture,
functional tools,
jewelries, furniture,
fabric or fashion)

- Trace and summarize the XV. Local Arts Lecture Local Community Reflective Essay
development of the arts, art Indigenous Art, Immersion
appreciation and esthetics in Muslim Art, Christian Creative Presentation Quiz
contemporary art practice like Art, Contemporary art, Gallery/studies or
in the China, Japan & Practice and Exhibit (online and workshop visit Exam
Philippines. Movement actual)

Partial Requirement Long

Test A Five-minute art talk, a summative, application or reflection of all the ideas and concepts that student have learned by
 Kalinga State University Doc. Ref. No.
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discussing any topic/theme, artwork, concepts, ideas, nature of the art, either cultural, artistic, historical, objet, artifact,
movement, practice.

B. REFERENCES:

Collingwood, R.G. (1938). The Principles of Art. Worcestershire: Red Books Ltd.

Dudley, L., Faricy, A., and McGraw-Hill Book Company. (1960). The Humanities. New York: McGraw-Hill

Mill, J.S. (1879). Utilitarianism. 7th Ed. London: Longmans, Green, and Co.

Scott, D. (2000). “Socrates and Alcibiades in the ‘Symposium.’” Hermathena 168, 25-37.

Collins, M.R. and Riley, O. (1931). Art Appreciation for Junior and Senior High Schools.New York: Harcourt, Brace & World, Inc.

Plato. (2000). The Republic. Accessed November 2, 2017. Retrieved from friendly/Tolstoy_on_Art_TWO_COLUMNS.pdf.

National Commission for Culture and the Arts. (n.d.). “The Spanish colonial Tradition in Philippine Visual Arts.” Accessed October 26, 2017.
Retrieved from https://ncca.gov.ph/subcommissions/subcommission-on-the-arts-sca/visual-arts/the-spanish-colonial-tradition-in-
philippines-visual-arts/.
Google Cultural Institute. (n.d.). “Indian Miniature Paintings: The Rajasthan School Google Arts & Culture.” Accessed October 18, 2017.
Retrieved from http://www.google.om/culturalinstitute/beta/exhibit/PgLSknKVvOF_JQ.

GMA News Online. (n.d.). “Frescoes from the Rubble of Bohol’s Quake-Hit Churches.” Accessed December 8, 2017. Retrieved from
http://www.gmnetwork.om/news/story/331262/lifestyle/frescoes-from-the-rubble-of-bohol-s-quake-hit-churches/.

The History of Drawing I Scholastic ART I Scholastic.Com.” (n.d.) Accessed November 1, 2017. Retrieved from
http://scholstic.com/browse/article.jsp?id=3753864.
Zulueta, F.M. (1994). The Humanities. Metro Manila: National Book Store, Inc.
 Kalinga State University Doc. Ref. No.
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Encyclopedia Americana (International Edition). (2000). Connecticut: Groiler.

Abuan, C.O. (2000). Philippine Literature: A Student Guide. Dagupan City: SLA Publishing House.
Applebee, A.N. (2006). The Language of Literature. Evanston III: MCDOugal Littell.
Atabug, A.C. (1995) Readings in Music Education. University of Santo Tomas Press.
Bascara, L. R. (2000). World Literature. Manila: Rex Book Store, Inc.
Rivadelo,R. F. (1994). Musical Instruments: Then and Now. Metro Manila: National Book Store, Inc.

C. ACCOMODATION FOR DIFFERENTIATED INSTRUCTION:

Students who incurred absences with valid reasons shall be given special activities corresponding to the ones they missed during their absence.
D. COURSE POLICIES:
- All requirements should be turned in on the specified time in the class.  Do not turn in requirements at the instructor’s house.
- All students enrolled should follow the arrangement of topic indicated in the syllabus.
- Set cellphones in silent mode while the class is going on.
E. CONSULTATION HOURS & FOR QUERIES:
a. MWF – 7:30-9:00 AM, 4:00-5:00 PM
b. TTh – 2:30-4 PM
c. Email Address: jhbtampoy@ksu.edu.ph
d. Facebook: John Henry Bagayao Tampoy
e. Cellphone Number: 09978367116

Prepared and Submitted by: Checked by: Approved by:

JOHN HENRY B. TAMPOY, MST JOVY C. AOWAT, DPA ROBERT A. RODOLFO, PhD
Instructor DSS Chairman VP for Academic & Student Development