Art Appreciation

Mayra Christina M. Ambrocio, DEM Francisco C.

Doble
Ervin D. Espinosa
Deobela Fulo – Fortes
Marian P. Alfonso
Michael T. Ardizone

i
 Table of Contents

Module 9: Soul Making (Artmaking)

Introduction 162
Learning Outcomes 162
Lesson 1: Categories of Soul Making (Crafting Images, Crafting
Stories, Crafting Instruments and
Crafting Movements (Performance) 163
Lesson 2: (Art) Soul, Dreams, and Imagination 168
Lesson 3: Seven (7) da Vician Principles 173
Lesson 4: Soul and Space 179

Module 10: Local, Traditional and Indigenous Arts

Introduction 190
Learning Outcomes 190
Lesson 1: Textile Art 191
Lesson 2: Visual Elements in Philippine Traditional Motifs and Crafts 196
Lesson 3: Workshop on Improvisations, Installation, Trans Creation 198
Lesson 4: Indigenous Art 200

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 List of Figures

Figure Description Page

9.1 Starry Night by Vincent Van Gogh (1889) 171
9.2 Gothic Landscape by Lee Krasner (1961) 172
9.3 The Treachery of Images (Pipe) 179
9.4 Buckminster Fuller’s Geodesic Dome 180
9.5 Fan Kuan 180
9.6 Christina’s World 182
10.1 Textile Art from India 192
10.2 Weaving on a Loom 193
10.3 Crochet needle with Stitches 194

iii
 MODULE 9
SOUL MAKING (ARTMAKING)

Introduction

Art making is a fun and rewarding way for people to express themselves and to
learn a broad range of skills and concepts. In making art, students explore the
materials and techniques used by artists and architects, and experience the decision-
making practices that artists have used over the centuries. While many art educators
emphasize the creative process and exploration through art, others focus on
developing studio skills and a fully realized final product. Students interested in working
further in their craft become amateur or professional artists.

When educators emphasize the art-making process over the final product,
students increase their sense of mastery, decision-making, and feeling of inclusion and
independence, and ultimately grow in self-awareness. Working in groups offers
opportunities for shared risk taking and completing works through teamwork,
cooperation, and the exchange of ideas (artbeyondsight.org, 2018).

Learning Outcomes

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

1. Identify the meaning and nature of soul making;

2. Describe the categories of soul making; and
3. Appreciate the importance of artmaking.

162
Lesson 1. Categories of Soul Making (Crafting Images, Crafting Stories,
Crafting Instruments and Crafting Movements Performance)
(Montebon, 2020)

As Dr. Norman Narciso, one of the leading Filipino thought leaders in the art
world, deeply explains soul-making, "Soul making is an alternate place to know oneself
and to look at the depths and meaning of what we doin our daily lives.” Soul making
is a step towards a deeper comprehension of how the world is perceived and howhis
or her own personality is seen. Soul making plays a major role in art-production; it is
a form of crafting stories, transforming brief moments into images, symbols that
connect with people, understanding culture and embodying tolerance, peace, and
imagination

Knowing oneself

In soul making, "who are you" is the topic that throughout the process serves
as a guidepost. Knowing oneself begins with consciousness. In order to start the
process, it is necessary to realize and embrace one's truth, history and understanding of
existence. With this new found insight, art, which is actually the very core of soul-making,
can now come into play. Therefore, it is not so much the production that is mostly
taken into account, but the method of perceiving anything.

Depths and Essence

Soul making is more than the soul's religious perspective. Soul refers to a
person's individuality that resonates with his or her behavior. Since art is a human
expression that is highly valued and symbolic, a person typically uses different art
forms to fulfill the need to communicate and express him or herself. The human desire
to actualize his or her very being is strongly assisted by soul making.

What We Are Doing

Art gives a person a sense of purpose about what he or she is doing. As any
artwork is an expression of one's perceptions, feelings, emotions, and realities, the key to
personal cultural growth is the process of creating such expression. Soul making utilizes
every human experience to build the influence that can make the artist himself and
others improve.
16
3
Everyday Life

Life includes a lot of adventure, understanding the challenges that come

with each adventure, and understanding how each person has a unique way of
perceiving things as life happens to them. Soul making is a method that can be gone
through by anyone. As all are creative in their own right, it is not limited to the
"obviously artistic". It's just a matter of losing yourself in the art of viewing the world
from a different perspective and detaching yourself from yourself.

DEFINITION OF SOUL MAKING

▪ an alternative venue for knowing ourselves and looking into the depths and
real meaning of what we are doing for our everyday life (Narciso, 2012)
▪ To develop the artist in us awakening the art in us that has been stagnant
or undeveloped for numerous years.
▪ It is an exploration and application of the imagination in an active way.
▪ It is a form of crafting stories are transforming brief moments into images
are symbols does connecting with people understanding culture and
embodying tolerance and peace.
▪ Can be an innate or learned skill or a combination of both.
▪ it is like with inspiration it plays a major role in art production

Categories of Soul Making

Crafting Images

Crafting images includes the production, by various forms and methods, of

visual representations of images. Any art form such as drawing, sketching, and
sculpting can be used to perform this process. Dancing, poetry (or black-out poetry),
musical instrument playing, and even filmmaking may also do this.
Crafting Stories

He or she is already creating stories when an individual writes down his or her
own personal feedback, life values, deep feelings, ideas, ideals, and even high and low
emotions. Similar to crafting images, he or she may be portrayed by different means
when one craft story is presented. Stories can be relayed via vivid photos, calming
music, and impactful sentences.

Crafting Instruments

Crafting instruments are treated as “a bridge to the unknown because the

instrument creates sounds that exceed our thoughts, emotions, and sensations. The soul
is accompanied by a vessel so that the soul will not disappear." Instruments help people
explore the magic behind music and its unique impact on a person. Such musical
instruments can establish the soul's harmonious sustenance and the mind's balance.

Crafting Movements

Life is movement, according to Dr. Narciso (2016). [One's] life is full of

different rhythms. "Our life is full of movements, it is full of different rhythms,
life is full of flowing images accompanied by narratives, and this melodic flow
symbolizes how the universe gives every human being the ability in their respective lives
to experience the highs and lows." For artists who are more inclined to crafting
movement, the pattern that life serves a person provides a source of inspiration.

Crafting Techniques

Crafting techniques in soul making are the artist's reflection of his life and
experiences in any piece of art. The approach, preferably, should be methodological. A
soul maker, though, when he executes his creative expression, is unbounded.

5 Phases of Soul Making

1. Seeking – The first step is seeking or finding. At this point, we recognize that
each of us who are interested in our own growth and the ways of our world is
a 'seeker.' We
 are looking for a discipline or method that can help us live in and make sense
of the world and heal the wounds of 'self. ‘The best thing about searching is
that it is a vital stage in our growth as soul builders. It gives us the tools to
live our lives, and if we systematically look, we find that in some integral sense,
these tools and practices can be fitted together, allowing us to settle down,
moving us on to a practice or cluster of practices that satisfy our creativity
and passion, and that we can then spend time perfecting.
2. Settling – Soul making is about communicating as profoundly as possible with the soul,
with other human and non-human beings (and this means the future of humans
and non-humans) and with the world. If we are perpetually wondering, we cannot
do this. We must find ourselves settled at some point in our lives.
3. Surrender – If it is permitted to surrender, with all its pain and vulnerability, something
magical will happen. We tend to note in the midst of the crashing that our
activities begin to be in the service of the soul. The capacity to surrender, of
course, is restricted by the amount of pain and uncertainty that we can bear!
True surrender takes us up and throws us down; calls for the wounds we bear
to be accepted; forces us to spend time living in the darkness.
4. Soul making – At some point in the variations between the Settling and Surrender dual
polarities, we begin to perceive our practice and life in the universe as Soul
Making. We are beginning to become an expert, an injured healer. We're
starting to grow up enough to feed our girls, our children, our children. We
accept that there's no way to ever get it right. Soul Making is the fourth stage, in
which the individual transitions from a stage of improving reflective practice to
becoming a practitioner of soul making. However, this is still not to be
completely settled in, since it holds all the strengths and disadvantages of the
previous levels. Both of us have to keep looking. Throughout life, we all settle and
re-settle. We would all be met with the psyche 'appeal for submission, over and
over again. And it will constantly call upon our capacity to care and nurture
(others and the world).
5. Soaring – When we begin the journey, what we most wish is to soar. To conquer
our worldly experience’s material realities-to travel. It will not happen, however, if
we only want to fly, nor can the psychological version of a spaceship or
airplane be
created by ourselves. What may be true is that we could find ourselves
soaring, together, engulfed in the air and sky, by enabling ourselves to pass-
through the stages of Soul Making.
Lesson 2. (Art) Soul, Dreams, and Imagination (Richmond, 2015)

“Dream” and “imagination” are closely related words, but they still have a few
distinctions. Both “dream” and “imagination” refer to mental processes, states, and
products of a person’s mind. Both are also experiential. The two states are not based on
or influenced by reality. They also refer to the capacity and creativity of an individual.

“Dream” and “imagination” are often mistaken for one another simply because
they exist in the same context – the mental mind. They can influence each other in many
instances, and sometimes they can also be influenced by environmental factors with the
help of the five senses.

Difference between Dream and Imagination

Dream vs. Imagination

“Dream” and “imagination” are closely related words, but they still have a few
distinctions. Both “dream” and “imagination” refer to mental processes, states, and
products of a person’s mind. Both are also experiential. The two states are not based on
or influenced by reality. They also refer to the capacity and creativity of an individual.

“Dream” and “imagination” are often mistaken for one another simply because
they exist in the same context – the mental mind. They can influence each other in many
instances, and sometimes they can also be influenced by environmental factors with the
help of the five senses.

However, there is a line drawn between the two concepts. Imagination, for one, is
the act, power, or ability to create and form mental images, pictures, sounds, or
other sensory events that are not present in reality. Imagination often requires a
stimulus or inspiration to “release” more ideas or options.

Imagination can happen suddenly (when one is struck by inspiration or a stimulus)

and then deliberately (when the person makes an effort to pursue avenues of the
idea).

Imagination happens in a conscious state.

A dream, on the other hand, is a series of the same sensory abilities without
making an effort to create them. Dreams usually happen during unconsciousness or
in a state of
sleep. They can also happen during consciousness, which is often termed as
daydreaming. In a state of sleep, dreams occur during the rapid eye movement
(REM) stage.

In comparing both concepts, some claim that imagination is like an experiment; it

tries to explore possibilities and options in a certain avenue. Meanwhile, dreams are often
regarded as a sort of self-reflection. Furthermore, dreams have varying themes like
sexual, adventurous, frightening, magical, and many others.

Imagination can also have effects when used. Usually, literary works, art, or
other mediums of expression are products of the imagination. The same can be said
for dreams; however, dreams also have a special place in other fields because they
are regarded as a tool for “meaning-making,” signs, or premonitions. They are usually
subjects for interpretation and divine intervention.

Dreams can occur in a single episode or as a series of related dreams. There

are also instances when people remember or do not remember their dreams.

Soul making: Making and Deriving Meaning from Art

Semantics and grammatical rules are essential elements to remember in

order for human beings to make sense of language and derive meanings from words.
Apart from this, it is often known that meaning and symbolisms view and evaluate
either verbal or written works. In terms of art, it would involve understanding the visual
elements on which art was focused, particularly the concepts of design, in order for
people to make sense of the work. It is important to remember that the viewer must
have a certain degree of understanding of the work's style, shape, and material. It
would be impossible to appreciate the visual arts in their fullness and completeness
without such understanding.

Improvisation

It is possible to describe improvisation as doing something without previous

planning. There is a decision to act upon something that might not be expected
necessarily. Improvisation has become an important part of the arts within the
present context. Some would claim that during the twentieth century, it was a
response to the stiffness of the arts.
There is a call for emancipation from monotony aimed at rekindling people's creative
spirits in the arts.

Infusing spontaneity and improvisation adds up to the totality of the work of

art for certain artists. The unpredictability of the changes brought on by improvisation
enables the artwork to have a distinctive quality that creates its identity and uniqueness.
The principle of allowing opportunities in the process of making the work is supported by
some artists. Artists would like, for instance, to depict the darkness brought on at
night by an incoming storm or the beauty of a meteor shower. Since they do not
inherently have total influence over natural phenomena, their dependency on
opportunities may not necessarily deliver their anticipated result. Artists who encourage
their subjects to improvise can often have entirely different outcomes.

Appropriation

Throughout history, appropriation of art has been a common occurrence. In the

past, an apprentice painter would be able to use his master’s work to copy if he wanted to
hone his skills in his art. It is as if the apprentice is attempting to explore what he is
more familiar with through his personal application of techniques. There are, however,
several individuals who have reached the extreme by assuming that an artist’s exact
artwork is replicated and credited to himself. This could pose a problem with authorship in
particular. The issue occurs when the artist of appropriation gets bits and pieces from
other works and incorporates these elements into his own work. Furthermore, when
appropriation artists escape responsibility for putting the specifics of other works and
incorporating them into their own, with that of the appropriation artist, their voices
and perceptions of the other artists are lost.

A very thin demarcation line seems to exist between the art of appropriation
and forgery. Forgery can historically be categorized into two forms: outright copies of
existing works and pastiches, which are works that incorporate elements of a work
and infuse them into a new work. But forgery may be in the form of making an
interpretation of what an artist might do by prediction in contemporary times. This can
be accomplished by studying the techniques and style used by the artist and also the
focal points highlighted in his past and present works. Since problems of plagiarism
or forgery often arise, the motives of the
 appropriation artists are sometimes challenged. Some would say that the purpose
behind the appropriation is that they want the audience to remember the images
they replicated. There is a desire on the artist's part that the audiences will see a new
take on the original work (Thorp, 2017).

Art making as soul making. In making art an artist or artisan or even an

ordinary person. The reason for that term for example rather than soul builder or
soul grower is that the emphasis is on creative intelligent authorship. The term the vale,
it opens door for multiple intelligences of expression. As a process of validating one’s

life experience.

Figure 9.1. Starry Night by Vincent Van Gogh (1889)

Source From: Expressionism Artwork from https://www.vangoghgallery.com/painting/starry-night.html
 Figure 9.2. Gothic Landscape by Lee Krasner (1961)
Source From: Abstract Expressionism Art Term Tate from
https://www.tate.org.uk/art/artworks/krasner-gothic-landscape-t03291
Lesson 3. Seven (7) da Vician Principles (Mugadonna, 2008)

What does it mean to be genius? Is genius born or made – or both? The idea
of "genius thinking" can sound rather overwhelming, but you'll be pleased to find that it's
simpler and a lot more enjoyable than you thought. The method of Leonardo will
affirm many of your own strongest intuitions as to how you can access your own
ability. Here are the seven genius principles of Leonardo da Vinci that will open your
imaginative aorta and unleash your genius.

1. Curiosità – is an insatiably curious approach to life and unrelenting quest for

continuous learning.

Da Vinci was not the only one to represent a nearly unlimited supply of
curiosity. Some of the great inventors and leaders of humanity have the
ability to unlock life's mysteries. Think about curiosity in 2basic questions:

a. What if?
b. How come?

What If: Ask your brain to project into the future. It encourages you to see options where
you might have overlooked them, it allows you to make connections and it is a sneaky
way to get your brain more goal-oriented. What if I started this person's conversation?
What if I attempted
a new activity like this? What if I began the new schedule of workouts? Usually, what
happens after 'what if...' is mystical.

How Come: How come brings you to 'Why'. Instead of watching the environment passively
or going through reflex replies, 'how come' makes you challenge both your actions
and the intentions of others. Da Vinci didn't waste his life for a second. He was
making and guessing
and tinkering all the time. 'How come' allows you to use a mission every second of your

life. Here are some ways you can capture more Curiosita:

• A Hundred Questions: Write down 100 questions that are important to you. These
could be questions you wish to answer yourself such as, “What is my purpose?” or
 “What is the meaning of life?” or questions you want to know about everyone you
meet like, “What is your passion? or “What makes you happy?” This is the ultimate
‘what if’ and ‘how come’ exercise.

• Ten Power Questions: After you have brainstormed a list of 100 questions, select the
10 that have the most powerful impact when you read them. Which ones
spark a feeling of motivation or achievement? These are your catalyst questions.
For example:
▪ When am I most naturally myself?
▪ What is my greatest talent?

▪ What is my heart’s deepest desire?

• Daily Themes: Da Vinci was an avid writer and note taker. He had a journal
everywhere he went. I have a journal at my desk AND at my bed to take notes
when all kinds of ideas pop into my head. Carry a journal with you everywhere
and write
down your ideas and observations. Each day, choose a theme or word. You

can do this at the beginning of the day to set the intention or at the end of the

day as a cool down or wrap-up.

2. Dimostrazione – is a commitment to test knowledge through experience, persistence

and a willingness to learn from mistakes. Dimostrazione is the embodiment of
your own hands controlling your life. This principle tells us:
a. Test every idea
b. Don’t take anything for granted

c. Experience life first hand

For instance, if I take this personal growth lesson, then I expect to be

healthier. Or as simple as if I were reorganizing my wardrobe, then in the morning it
would be easier to get dressed. The 'If ..., then ...'exercise places you in the mood of
chance-hunting, so you still look for and try alternatives.

Here are some ways you can capture more Dimostrazione:

 • Find Your Greats: You have probably heard of all the most popular artists and
authors, but who are your favorites? Set out to find your greats. Don’t take anyone
else’s word for it. Start your own search for the artists, classical musicians or
writers that inspire
you. Go to a museum and look at the paintings without glancing at the names.
• Be Devil’s Advocate: Try playing devil’s advocate against yourself. Try making
the strongest possible argument against one of your own beliefs just for the
mental exercise. Write at least 3 points against yourself.

3. Sensazione – is the continual refinement of the senses, especially sight, as

the means to enliven experience.

Fill in the blank:

is so beautiful.

I love the way smells.

What a lovely .

I adore the feeling of on my skin.

The sound of is music to my
ears.

We forget to savor and sensualize our experiences. We all heard, 'Stop and smell
the roses,' but when did you actually stop and smell the roses for the last time? Yes,
literal roses, but metaphorical roses as well. When did you stop for the last time to
savor an experience? Da Vinci was unbelievably inspired by the world around him
and the more he honed his senses, the greater his genius became.

Here are some ways you can capture more Sensazione:

• A Sense a Day: Plan out 5 experiences in the next few months where you
practice honoring each of your senses.

▪ For smell, go to the local botanical gardens, make your own perfume or
cologne and learn to recognize herbs by their scent at the local grocery
store.
 ▪ For taste, (this one is easy!) eat a bunch of your favorite foods and try
one new cuisine. Figure out your favorite spice.
▪ For sight, go to your local museum, then hike to a vista or view point

and learn some new photography techniques.

▪ For touch, go to your local animal shelter and volunteer petting pups and
kitties. Go through your closet and organize it by fabric. Go shopping
and try to buy one new fabric you have never owned before.
▪ For hearing, go to a concert, stop by your local music store and try to
play an instrument you have never heard before. If you are really
ambitious, try to learn bird mating calls or spend sometimes trying to draw
sound. For example, if you had to draw the sound of a trumpet, how
would you do it?

4. Sfumato – is a willingness to embrace confusion, paradox, and confusion. Da

Vinci had a very special capacity to comprehend the extreme opposites of
views and phenomena. He was also able to explore and revel in the
uncertainty of unknowns.
Most of us are uncomfortable with questions not being known or unanswerable, so
we avoid anything beyond our control. We stick to what we know and do a Google
search right away the moment we don't know something.

Here are some ways you can capture more Sfumato:

• Stop Googling: For the next week, anytime you need to look up a word or trivia
fact, try to guess the answer instead. You can phone a friend for help as well,
as long as they brainstorm with you too.
• Embrace Your Ambiguity: List some situations from your life where you are
confused or feel ambiguous about an outcome and explore the feelings that
come up.
• Cultivate Confusion Endurance: Tap into your own paradoxes by asking questions
like, “How are my strengths and weaknesses related?” or “What is the
relationship between my saddest moments and the most joyful ones?”
 5. Arte/Scienza – is the development of the balance between science and art, logic
and imagination.

Although Da Vinci was not around for the right and left brain learning experiments,

this notion speaks directly to the whole brain thinking idea. Label the declarations that

sound like you:

Right Brained:

I like details
I am almost always on time
I rely on logic
I am skilled at math
I am organized and disciplined
I like lists

Left Brained:
I am highly imaginative
I am good at brainstorming
I love to doodle
I often say or do the unexpected
I rely on intuition
I often lose track of time

6. Corporalitá - The cultivation of beauty, inborn talent, fitness and poise is called
Corporalita. In addition to his intellectual ability, Da Vinci was unbelievably
athletic. From early on, he knew that his body also had to be in top shape if he
wanted his mind to work at optimum levels.
Here are some ways you can capture more Corporalita:

• Learn the Science of Eating: I did a whole post on the science of eating on some
really easy ways to make your food intake more purposeful.
• Get on a Sleep Schedule: Everyone has different sleep needs and different
sleep rhythms. For the next week, track your sleep times and hours and see
which days you
 have the most energy. Are you a night worker? A morning person? Learn your
cycles and then honor them by building asleep routine.
• Cultivate Ambidexterity: Da Vinci used both his right and left hands as he worked. You
can do this by trying to brush your teeth with your non dominant hand or get
a really patient person to play a game of pool, tennis or catch where you
switch hands.

7. Connessione – is a recognition of and appreciation for the

interconnectedness of all things and phenomena.

Here are some ways you can capture more Connessione:

• What’s Your Book Outline? If you had to create a table of contents for a book
about your life, what would it be if you couldn’t make it chronological?

3 Objects: Pick 3 random objects in your house. If you had to find connections
between them, what would they be? For example, I chose my blender, my garage
clicker and a bottle of nail polish. Can you think of three connections? I thought: With
all three of these things, the faster they work the better. The faster the blender, the
better the smoothie, the faster the garage door opens, the faster I get home and the
faster my polish dries, the less risk there is of my mashing up my toe nails. This is
a great one to play with kids (Balt, 2014)
Lesson 4. Soul and Space (Esaak, 2019)

Understanding space as an element of art and design, artist use lots of tricks to
create the “illusion” of depth on a page. Color, overlapping, size, perspective call all
add distance and dimension to a piece.
Techniques for Creating Illusion of Depth:
- Value: Lightness or Darkness
- Space: Distance between points or planes
- Perspective: uses Mathematical Principles

Figure 9.3 Rene Magritte, The Treachery of Images, (“This is not a pipe”), 1929
Source From: https://contentincontext.me/2020/06/16/fact-v-fiction-in-public-discourse/

Buckminster Fuller’s Geodesic Dome (1963-1976).

- Demonstrate the effect of light on planes
- Each of these planes has a different relative degree of lightness or darkness: (a)
value changes occur gradually; (b) the relative dark values increase as the planes get
further away and face away from the light; and (c) there is a value range of black,
white, and or gray.
- Formerly used as a sculpture studio at Reed College in Portland, Oregon.
 Figure 9.4. Buckminster Fuller’s Geodesic Dome (Art Dome) 1963
Source From: https://www.pinterest.ph/pin/529102656195698436/

Space: Alternating Value and Texture

Each area of light and dark occupies different amounts of space, making the design
more interesting.
Note the change in visual texture from bottom to
top. These visual layers create a sense of depth.

Figure 9.5. Fan Kuan, Travelers among Mountains and Streams, Northern
Sung Dynasty, 1th century. Hanging scroll, ink and colors
on silk, 81¼ x 40⅜”. National Palace Museum, Taipei,
Taiwan Source From:
https://depts.washington.edu/chinaciv/painting/tptgnsla.htm
 Space, as one of the classic seven elements of art, refers to the distances or
areas around, between, and within components of a piece. Space can be positive or
negative, open or closed, shallow or deep, and two-dimensional or three-dimensional.
Sometimes space isn't explicitly presented within a piece, but the illusion of it is.

Using Space in Art

The American architect Frank Lloyd Wright once said that "Space is the breath of
art." What Wright meant was that unlike many of the other elements of art, space is
found in nearly every piece of art created. Painters imply space, photographers capture
space, sculptors rely on space and form, and architects build space. It is a
fundamental element in each of the visual arts.
Space gives the viewer a reference for interpreting an artwork. For instance, you
may draw one object larger than another to imply that it is closer to the viewer.
Likewise, a piece of environmental art may be installed in a way that leads the
viewer through space.

Figure 9.6. Andrew Wyeth (American, 1917-2009). Christina's World, 1948

Source From: https://www.moma.org/collection/works/78455
 In his 1948 painting Christina's World, Andrew Wyeth contrasted the wide spaces
of an isolated farmstead with a woman reaching towards it. French artist Henri Matisse
used flat colors to create spaces in his Red Room (Harmony in Red), 1908.

Negative and Positive Space

Art historians use the term positive space to refer to the subject of the piece itself,
the flower vase in a painting or the structure of a sculpture. Negative space refers to
the empty spaces the artist has created around, between, and within the subjects.
Quite often, we think of positive as being light and negative as being dark.
This does not necessarily apply to every piece of art. For example, you might paint a
black cup on a white canvas. We wouldn't necessarily call the cup negative because
it is the subject: The black value is negative, but the space of the cup is positive.

Opening Spaces
In three-dimensional art, the negative spaces are typically the open or relatively
empty parts of the piece. For example, a metal sculpture may have a hole in the
middle, which we would call the negative space. Henry Moore used such spaces in his
freeform sculptures such as Recumbent Figure in 1938, and 1952's Helmet Head and
Shoulders.
In two-dimensional art, negative space can have a great impact. Consider the
Chinese style of landscape paintings, which are often simple compositions in black ink
that leave vast areas of white. The Ming Dynasty (1368–1644) painter Dai Jin's
Landscape in the Style of Yan Wengui and George DeWolfe's 1995 photograph
Bamboo and Snow demonstrate the use of negative space. This type of negative
space implies a continuation of the scene and adds a certain serenity to the work.
Negative space is also a key element in many abstract paintings. Many times
a composition is offset to one side or the top or bottom. This can be used to direct
the viewer's eye, emphasize a single element of the work, or imply movement, even if
the shapes have no particular meaning. Piet Mondrian was a master of the use of
space. In his purely abstract pieces, such as 1935's Composition C, his spaces are
like panes in a stained-glass window. In his 1910 painting Summer Dune in Zeeland,
Mondrian uses negative space to carve out an abstracted landscape, and in 1911's Still
Life with Gingerpot II, he isolates and defines the negative space of the curved pot
by stacked rectangular and linear forms.
Space and Perspective
Creating perspective in art relies on the judicious use of space. In a linear
perspective drawing, for instance, artists create the illusion of space to imply that the
scene is three- dimensional. They do this by ensuring that some lines stretch to the
vanishing point.
In a landscape, a tree may be large because it is in the foreground while the
mountains in the distance are quite small. Though we know in reality that the tree cannot
be larger than the mountain, this use of size gives the scene perspective and
develops the impression of space. Likewise, an artist may choose to move the
horizon line lower in the picture. The negative space created by the increased amount
of sky can add to the perspective and allow the viewer to feel as if they can walk right
into the scene. Thomas Hart Benton was particularly good at skewing perspective and
space, such as his 1934 painting Homestead, and 1934's Spring Tryout.

The Physical Space of an Installation

No matter what the medium is, artists often consider the space that their work will
be displayed in as part of the overall visual impact.
An artist working in flat mediums can presume that his or her paintings or prints
will be hung on the wall. She may not have control over nearby objects but instead
may visualize how it will look in the average home or office. She may also design a
series that is meant to be displayed together in a particular order.
Sculptors, particularly those working on a large scale, will almost always take
the installation space into consideration while they work. Is there a tree nearby? Where
will the sun be at a particular time of day? How large is the room? Depending on the
location, an artist can use the environment to guide her process. Good examples of the
use of setting to frame and incorporate negative and positive spaces include public art
installations, such as Alexander Calder's Flamingo in Chicago and the Louvre Pyramid
in Paris.

Look for Space

Now that you understand the importance of space in art, look at how it is used
by various artists. It can distort reality as we see in the work of M.C. Escher and
Salvador Dali. It may also convey emotion, movement, or any other concept the
artist wishes to portray.
 Space is powerful and it is everywhere. It is also quite fascinating to study, so
as you view each new piece of art, think about what the artist was trying to say with the
use of space.

ASSESSMENT TASK 9-1

Soul Making (ArtMaking)

#MyVersionOfExpressionismArtwork

Directions. Create and art work depicting the Art of Expressionism.

Step 1. Choose the subject of your artwork. This can be a person, place or object,
or even a mental image, such as a memory or dream.

Step 2. Sketch the image you want to create. Don't plan in advance or second-
guess yourself. Try several different sketches, keeping your emotional reaction
uppermost in your mind. Choose the one you feel best captures the feeling of your
experience.

Step 3. Select the colors you intend to use. Expressionist painters typically used a
limited palette of colors. One of the key breakthroughs of Expressionism was that
color could be used symbolically rather than realistically. Painters, such as Van
Gogh and Kandinsky,
used color to powerful effect. Select five or six colors, including several lighter and
darker shades of the same hue.

Step 4. Paint an image based on your sketch. Don't be afraid to modify your
work in progress if that seems right to you. Use bold contrasts of color, even
if that means deviating from nature, like the lurid sky in the background of Munch's
"The Scream." Don't censor yourself; Expressionist art didn't flinch from expressing
even shocking and unsettling aspects of human emotion.

ART RUBRIC

Points
Criteria 3 5 8 10

The art work

The student
The art work shows that the
The student did the
shows that the student
did the assignment in
student applied applied the
Elements of minimum or a satisfactory
the principles principles
Design the artwork manner, but
discussed in discussed in
was never lack of
class class in
completed planning was
adequately. unique
evident.
manner.
The piece The student
The student’s The student
shows little or artwork
work lacked work
Creativity no evidence of demonstrates
sincere demonstrates
original a unique level
originality. originality.
thought. of originality.
The student The student The student the students
Effort did not finished the completed the gave an effort
finish the project, but it project in an beyond the
work in a
 satisfactory lacks finishing above average requirements
manner. touches or manner, yet of the project.
can
be improved more could
upon with little have been
effort. done.
The student The student The artwork is
The student
showed showed above outstanding
showed poor
average average and was
Skill craftsmanship
craftsmanship craftsmanship finished with a
or lack of
and and great deal of
understanding.
understanding. understanding. patience.
The student The student The student
The student
displayed a displayed a displayed a
displayed a
negative positive positive
negative
response at response most response all
Responsiveness response
times during of the time of the time
throughout the
the during the during the
development
development development development
of piece.
of the piece. of the piece. of the piece.

SUMMARY

Art making is a fascinating and effective way to introduce students to a wide

variety of textures and help them develop their tactile exploration skills. Younger
students develop their
 motor skills when working on construction or modeling projects that involve manipulating
paper, cardboard, clay, plaster, and other materials.

When students make art, they have the opportunity to express their feelings, fantasize,
tell stories, and give their ideas concrete form. They can reflect and draw upon their everyday
experiences and observations. Students find relationships between objects, consider
alternatives, and make choices. They identify with the ideas and feelings explored and
expressed by well-known artists. Collecting and working with natural materials to make a
collage, for example, can expand students’ learning in an environmental-studies program.
Science classes can use modeling and construction projects. Basic physics can be addressed
through sculptural projects. Math concepts, such as addition, subtraction, multiplication,
division, and geometry can be reinforced through creating patterns that incorporate both line
and color.

CATEGORIES OF SOUL
MAKING any form which may be
- refers to imaging or representing storytelling poetry
in through painting sculpting .
drawing g crochet quilting or
dancing composing or taking ks out of nothing if
notes
this
- it's just like weaving quilting or ience is our personal
Crafting
doin Images
doing crochet it is not creating and are reflection recall
wor
and
Rooter in their own personal
exper counters and events the
inscribed our own
triggered
isms and positive and
judgment.
- the moment we write engrave
and ct in an into a
Crafting Stories thoughts ideas commentaries musical harmony and
critic negative emotions. balance to g and
- transforming any found or use
handsome and
obje

instrument allows one to discover

Crafting Instruments ed with various beats life
 ied by following
narratives everything we do in life is performance we
perform live at times with the past to capture
the movements of for energy and the world.
- anything can be crafted by using different evocative
descriptions of life experiences and explorations like
Crafting Techniques
photograph studies puppets and mask constructions
and notepad studies.

REFERENCES

Art Making (2018). Retrieve from: http://www.artbeyondsight.org/handbook/acs-

artmaking.shtml

Esaak, S. (2019). The Element of Space in Artistic Media. Retrieved from

https://www.thoughtco.com/definition-of-space-in-art-
182464#:~:text=Space%2C%20as%20one%20of%20the,%2Ddimensional%20
or%20three%2Ddimensional.

Montebon, R. (2020). Art Appreciation: The Art of Soul Making . St. Michael’s College, Iligan
City. Retrieved from: https://www.studocu.com/ph/docu

Mugadonna (2008). How to Think Like Leonardo DaVinci. Retrieved from

https://bit.ly/36fJsw7

Richmond, G. (2015). Difference Between Dream And Imagination. Retrieved from

http://www.differencebetween.net/language/words-language/difference-
between-dream-and-imagination/

Thorp, S. (2017). Making soul – a developmental path to consider. Retrieved from

https://bit.ly/385C7Si
 MODULE 10
LOCAL, TRADIONAL AND INDIGENOUS ARTS

Introduction

“The soul should always stand ajar, ready to welcome the ecstatic experience.” –
Emily Dickinson

Have you wondered how the clothes we wear are made and how baskets,
mats, blankets, pouches, and other fabrics are produced? All these items we keep
asking are products of human hands through the art of weaving, before the industries
produced these in greater volume through the aid of machines. Why do we need to
learn the art of weaving, despite the technological gadgets that we have? Many
especially the young, find this art of weaving archaic and unnecessary. Despite this art’s
unattractive notion, we need to assert its relevance for a cultural value that our past
generation held on in order to recognize our identity as a Filipino.

Before performing the expected activities found in this learning module, we need
to have a walk through on the selected pieces of art of weaving in the Philippines, as our
learning content. Art of weaving is already part of our consciousness, as it is
mentioned among the local myths in the regions’ folklore and traditions in our literature
classes. In the elementary school, our teachers taught us to appreciate this art through
the art of paper weaving, where our fine motor coordination was developed by
measuring, cutting, and weaving the different strips of colored papers to produce
beautiful artworks (Inocian, 2018).

Learning Outcomes

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

1. draw a metaphor from local myths so you will value cultural roots; and
2. deepen your understanding of imaging.

189
Lesson 1. Textile Art (Barnes, 2017)

Textile Art is a creative art and craft that uses fibers taken from plant, animal
or synthetic material to create practical or decorative objects (What is Textile?, 2016 as
cited by Barnes, 2017). This is one of the oldest forms of art in human civilization to
provide protection of the body from harsh environment and bad weather conditions. In
different geographical locations, textile weavers pay a major role in providing
protection of the human bodies, by providing thick clothes in middle and high
latitude countries, and thin and loose fabric in equatorial regions. Across the deserts,
savannahs and tropics, textile art is invariably inspired by the beauty of nature, ranging
from the geometric and naturalistic to foliar, floral, and animal motifs. Hence, textiles
have been a functional part of human life since the beginning of time to serve its primary
functions for clothes and blankets to keep the bodies warm during evening time as well as
in colder places and seasons. Anthropologists estimate the earliest accounts of this art
between 100,000 to 500,000 years ago during the prehistoric times, when our
ancestors used fabric from animal skins and fur.

The product creation of these fibers is called textile or a fabric. A cloth is a fabric
being produced by weaving using cotton, nylon, wool, silk, and any kind of thread. A
fabric is a piece of cloth or any material produced by weaving together cotton, nylon,
wool, silk, or other products of threads. A thread yarn is a long, thin strand of cotton,
nylon or other fibers used in the craft of sewing or weaving. Textile design is creative
and technical process by which threads or yarn fibers are woven or interlaced to
form a flexible, functional and decorative cloth, which is subsequently printed upon
adorned by individuals.

As time wore on and the neolithic cultures settled, textiles become

increasingly complex. Many early pieces were made with felting, which agitates animal
fibers (like wool) to interlock them in a strong bond. Beyond that, though, humans
also spun fibers to create strands of thread. They were woven together and resemble
more of what we’re used to today.

19
0
 Figure 10.1. Textile art from the India in late 18th to early 19th century
Source From: https://mymodernmet.com/contemporary-textile-art-history/

Creating clothing and other textiles was laborious—everything had to be done by

hand. This included gathering fibers from plants or animals and then twisting them to
make it into yarn. In addition to being a tedious process, making an article of clothing
was expensive; tailors and seamstresses altered garments to ensure that they lasted a
long time. Depending on how wealthy someone was, they could get imported fabrics
and colorful dyes. The Silk Road trade routes brought Chinese silk to India, Africa,
and Europe. While clothing was still the dominant type of fiber art, the aristocracy could
also afford to decorate the walls, floors, and furniture of their palaces in lush and
vibrant pieces.
The Industrial Revolution was a turning point for textiles. With the invention of
the cotton gin, spinning jenny, and power loom, creating fabric was now automated and
could be produced on a massive scale. Textiles were not just for the wealthy
anymore; as prices
dropped, they were available to more of society. It also meant that these materials were
not as precious, and creative people could experiment with them in previously
unseen ways.
The rich history of textiles has laid the groundwork for contemporary
creatives. In modern times, the terms fiber art or textile art generally describe textile-
based objects that have no intended use. Although this realm has previously been
seen as “women’s work,” artists - particularly female artists in the 1960s and 70s -
started to reclaim the field and elevate it into high art.

Popular Techniques in Textile Art

Textile art is broad term that can encompass many types of approaches. Weaving
is one of the earliest techniques. Here, threads are laced together on a loom at
intersecting angles to form cloth. This is commonly seen in garments, but weavings can
also be made into display artwork. These are often displayed as wall hangings, and
modern weavers like Genevieve Griffiths are experimenting with yarn weight and
stitch length to create highly textured works.

Figure 10.2. Weaving on a loom (Photo credit: 54613 / Shutterstock)

Source: https://www.shutterstock.com/search/weaving+loom

Embroidery is another popular form, in which artists use thread to stitch

decorative designs onto fabric. Often referred to as hoop art, the images mostly stay
within the confines of the circular frame. But contemporary embroidery has no rules,
so it’s not unusual to see
fabric and thread spill from the hoop. Ana Teresa Barboza is a great example of this
method of practice. In her artwork, she creates landscapes that extend well beyond the
hoop and flow towards the floor.

Figure 10.3. Crochet needle with stitches (Photo credit: Marie C Fields / Shutterstock)
Source: https://mymodernmet.com/contemporary-textile-art-history/

Knitting and crocheting are two other techniques for working with textiles. In both,
large needles are used double and single, respectively to twist thread into different
stitches, which in turn create larger patterns. These approaches are extremely
common in your favorite sweater or blanket, but artists have co-opted as a means of
expression. Joana Vasconcelos uses crochet to cloak animal statues in colorful patterns.
Likewise, the artist Olek “yarn bombs” buildings including covering an entire home in
bright pink crochet.
While many textile artists use traditional techniques as a starting point for their
work, other artists deconstruct these established practices to create minimalist art
that’s nonetheless impactful. Gabriel Dawe is a fantastic example of this. His site-
specific installations use razor-thin strands of colorful thread that stretch across
rooms. The result brings shining rays of rainbow light indoors.
Contemporary Textile Artists
With its myriad of visual possibilities and rich history, it's no surprise that
contemporary textile artists showcase the vast differences that are possible when dealing
with fabric, thread, and yarn.
New Zealand-based artist Genevieve Griffiths uses weaving to create architecture-
inspired wall hangings.
In the world of textile art, rugs have been around a long time. The term first came
into existence back in the 13th century, and they're still as popular as ever today.
Artist Faig Ahmed puts a contemporary spin on carpets by adding computer-style
glitches to the otherwise traditional motifs.
Lesson 2. Visual Elements in Philippine Traditional Motifs and Crafts
(Inocian, 2021)

Classification Elements in Visual Arts

1. LINE- the foundation of drawing; used to portray shape, pattern, form,
structure, growth, depth, distance, rhythm, movement, and a range of
emotions.
2. SHAPE- may be natural or man-made, regular, or irregular, 2-dimensional, or
3- dimensional, representational or abstract, geometric or organic,
transparent or opaque, positive or negative, decorative or symbolic, colored,
patterned or textured.
3. PATTERN- made by repeating or echoing the elements of an artwork to show a
sense of balance, harmony, contrast, rhythm, or movement. Natural patterns are
observed from nature, while man-made patterns are planned compositional
works done to develop a more decorative design.
4. TEXTURE- an element of two-dimensional and three-dimensional designs and
is distinguished by its perceived visual and physical properties. Physical texture is
the tactile quality of a surface, such as rough, smooth, sticky, fuzzy, soft, or
slick. Visual texture is a visual quality of a surface. It is the result from
painting or drawing as the real texture. Visual texture is an illusion of texture
created by an artist.
5. SPACE- the distance between or the area around and within shapes, forms,
colors, and lines. Space can be positive or negative. It includes the background,
foreground, and middle ground. Positive space refers to areas where the
subject is positioned.

Philippine Decorative Methods (Inocian, 2021)

Philippine decorative methods consist of the traditional and non-traditional
methods. The traditional methods of decorative art use localized or indigenous resources
found in the environment like leaves and strips for baskets, wood, bamboos, and vines for
houses; shells, stones wood and dried seeds for accessories; clay for potteries; natural
dyes for tattoos and wood for carving.
Symmetry Art of Okir/Ukill (Inocian, 2021)
Are you familiar with sarimanok? What does it remind you of? How about the
colorful vinta sailboat in Zamboanga City? These are as few of the common objects
that can be
alluded to our Filipino symbolism. These colorful exquisite figures are greatly influenced
by the unique craft called okir. The origins of okir can be traced back before Islam
flourished in Mindanao (National Museum of Anthropology). They are believed to have
originated from the much earlier okil or okil-okil decorative carving traditions of the Sama
Badjao people, which are often highly individualistic and geometric. The Sama are master
carvers and they made lavish decorations on ritual animistic objects, grave markers
(both in wood and stone) and their houseboats. These precursor forms of the okir
design can still be found in the art
traditions of the Maranao in the basak (lowland) regions of Lake Lanao, and they contrast
markedly from the later flowing okir designs.
The older Sama carving traditions (okil or okil-okil) sometimes spelled ukkil
among Malaysian Sama differ markedly from the okir of the Maranao. Although elements
of the okir were incorporated in later Sama carvings. Sama okil are not bound to rules
like the okir and thus tend to be highly variable. Maranao okie motifs are so stylized that
it is often easy to tell whether a carving in Maranao ora not. Other ethic groups usually
introduce other elements or motifs that are non-traditional to the original Maranao okir
designs. In the past, okir designs, particularly for textiles, are distinctive enough that a
Maranao can usually distinguish which region someone is from based only on the patterns
of their malong and their woven decorative strips.
Lesson 3. Workshop on Improvisations, Installation, Trans Creation
(Inocian, 2021)

Improvisation
Have you ever tried answering a question at hand without any preparation at all?
How does it feel? How did you come up with your thoughts under pressure? Some
may stumble that their nerves wrack them off. Some also are able to orchestrate their
ideas, if not coherent, but in creative manner. On a parallel fashion, an actor/actresses
who is given a script and overview of the story is asked to act out the scene without
much preparation. In most cases, he/she can make ad-lib and free to perform it to
convey the message clearly. This is what we call improvisation. You improvise when
you act creatively and perform spontaneously without much preparation (Meriam
Webster’s Dictionary). Improvisation (also known as improv, impro or impromptu) has
been a component of performance since the beginnings of Ancient Greek theatre with the
improvisations by the leaders of the dithyrambs (Brockett, 13 in Scott, 2014). Possibly,
improvisation found its way into earlier ritual dramas as in the case of Ancient Egypt,
where sacred texts “were incorporated into such performances while still relying on
myths that were quite flexible and could easily be related to many different
situations”.

Improvisation Technique
Akin to those of stage play and any theatrical presentations, improvisation is
categorized into music, dance, theater, and problem solving. But this Module does not
require you to perform such categories separately. Rather you are tasked to perform
all of these in synchrony like different art forms in wrought-fusion theater.
1. Improvised Music
Music in theater can be voice, music, or sound effects. In most cases,
sound in theater operates as an auxiliary that heightens the effect or
emphasizes this message of the story as John A. Legend points out in his
book Theater Sound. Improvised Dance
It is the process of spontaneously creating a movement. Development
of movement material is facilitated through a variety of creative explorations
including body mapping through levels, shape, and dynamics schema.
2. Improvised Design
It has something to do with the visual arts used as background of the
entire milieu of the presentation: lighting, backdrop, props, and costumes. It may
be mock-
 ups, or realias depending on how the story wants to convey its tangibility and
concreteness.
3. Improvised Theater/Drama
It involves the spot of role-playing and exchanging dialog in which most or
all of what is performed is unplanned or unscripted: created spontaneously by
the performers. In its purest form, the dialogue, action, story, and characters are
created collaboratively by the players as the improvisation unfolds in present time,
without use of an already prepared, written script.
4. Improvised Problem Solving
This challenges a performer to provide on-the-spot dialog and conversation
as the situation and interaction gap arise leaving it a silent lull. This might be the
failure of one performer to do the task on stage and you find a way to cover it
up before the audience. This provides an interactive, fun-filled environment than
can spark creativity, smoothness, and spontaneity.
Lesson 4. Philippine Indigenous Arts (Inocian, 2021)

Look around and see some objects at home like baskets, earthen jars, pots,
malong, paintings or any decorative materials. Don’t you know some of them are crafted
and made by our fellow indigenous people? It’s worth bragging that even most of
their arts-and-crafts products are manufactured and exported across the globe.
Indigenous communities can be found in various regions in the Philippines. These
communities have their own unique arts and crafts. Whether it be visual arts, song and
dance, handicrafts, tapestries and clothing or pottery, each region boasts of exceptional
talent, skills and creativity. Unfortunately, these masterpieces have been downgraded by
outsiders to merely crafts or handicrafts that are only worthy of being sold in tourist
shops. This is also known as the art vs. crafts controversy (Racette and Robertson,
2009). It is sad to note that indigenous artists are not recognized or appreciated.
Indigenous visual arts provide a means of cultural expression and are a vehicle for the
maintenance and transmission of culture. The visual arts are used to promote health and
well-being. The improve the lives of indigenous women and provide self-esteem to young
indigenous people.

The Arts of the Aetas

A traditional form of visual art is body scarfication. The Aetas intentionally wound
the skin on their back, arms, breast, legs, hands, calves and abdomen and decorative
disfigurements include the clipping of the teeth. With the use of a file, teeth are dyed
black a few years afterwards. The Aetas generally are use ornament typical of people
living in subsistence economies. Flowers and leaves are used as earplugs for certain
occasions. Girdles, necklaces, and neckbands of braided rattan incorporated with wild pig
bristles are frequently worn.

The Arts of the Bagobo

The Bagobos wear distinct ceremonial attire made of ikat textiles, which are likely
worn as either a costume or a dress. For the Bagobo, however, which ever word is
used made a difference. For example, the tend to use kostyom (costume) when speaking
to non-Bagobo; amongst themselves, they use ompak (garment or clothing). Kostyom
is not just costume pronounced with a local accent, it refers to something more
exact.
The Arts of the Badjao
The most commonly used material is the pandanus plant which grows abundantly
in the limestone-based island of Tawi-Tawi. The pandanus grow wild and untended in the
shores and sandy beaches. The techniques for preparing the pandan and weaving the
mats are generally similar throughout Sulu.

The Arts of the Bontoc

The Bontocs have a traditional of cloth weaving. The background colors are dark,
the favorite being blue. Geometric designs are diamonds, triangles, hexagons, and
zigzags. Representational designs are the dancing man and woman, stars, leaves, and
rice paddies.

The Arts of the Gaddang

The Gaddang is a tribal group to the north-east Manila, in the provinces of Isabela
and Cagayan. This is a modern reproduction of the traditional striped Gaddang
textiles embroidered with small white beads.

The Arts of the Ibanag

Textiles are embellished with knotted selvages and seams, floating warps, and
complimentary wefts.

The Arts of the Ifugaos

Traditional costumes are characterized as short, tight-fitting, hand-woven skirts
with colorful horizontal stripes, with a white-sleeve blouse and a loose striped jacket.

The Arts of the Ilongot

A headdress made of horn bill, shell, wire, rattan, and hair.

The Arts of the Ivatan

A vakul is a headgear designed to protect the wearer from sun and rain. It is
made from vuyavuy palm fiber.
The Arts of the Mangyan
The embroidered pakudos is always of two colors.on a white blouse, it is
predominantly red and is highlighted by a fine black or dark blue outline. On a blue
blouse, it is also predominantly red, but the outline stitchery is white. The design is
started from the center with only hand measurements and the warp and weft
threads as guide.

The Arts of the Manobo

Traditional fabric for clothes was made of abaca fiber or hemp, woven by the
ikat process. But now it is made of cotton cloth obtained through trade. Dyes were
acquired from plants and trees: the tagum plant and the bark of the lamud tree produced
lack, the turmeric root yellow and the keleluza plant, red. Ginuwatan are woven
representational designs such as flowers. If cotton trade cloth is bought, big floral designs
are preferred. Typical colors are red, black, yellow, green, blue, and white.

The Arts of the Maranao

We have several stylized decorative motifs in Muslim art. Sarimanok is one of
these, a stylized representation of an open-winged legendary bird whose claws clutch
a fish. It is bird-form symbol of the Maranao. A sarimanok can be seen on top of
bamboo poles placed at the center of Muslim Villages. The Maranao are also known
for btheir gold and purple malong. Malong is the traditional tube garment, which is
commonly colored into combinations of green, yellow, red, violet, and blue.

The Arts of the Subanun

The traditional costumes worn by the Subanun men and women consist of upper
and lower garments with headdress and other accessories. The tight-fitting garment
that is generally black made up the men’s upper garment called as Sub.

The Arts of the T’bolis

The T’bolis are famous for their dream-inspired and spirit-infused T’nalak weaving,
but also for their embroidery, brass casting, and other crafts. T’nalak weaving is an
artform
perfected over decades of practice by T’boli women, and only a handful of master weavers
can be considered true ‘dream weavers’, the works of whom are highly valued.

Arts of the Tingguian

The Tingguians or Isnegs, are engaged in bamboo craftsproduction. This is the
reason why Abra is positioning itself as the “Bamboo Capital of the Philippines”.

ASSESSMENT TASK 10-1

#MyPhotosandReflectiveEssay

Directions. Choose four (4) pictures (either of the following: picture of yourself, your family,
friends, pet, or things) and describe yourself based on the four (4) pictures you chose in
150 words. Include your chosen photos on your file. (100 points)

REFLECTIVE ESSAY RUBRIC

Points
Criteria Exemplary Accomplished Developing Beginning
20 15 10 5
Good
Some
organization; Organized; points
organization; Poorly; no logical
points are are somewhat
points jump progression;
Organization logically ordered; jumpy; sense of
around; beginning and
sharp sense of beginning and
beginning and ending are vague
beginning and ending
ending are clear
end
Some detail are Details are
Quality of Supporting detail Unable to find
non-supporting to somewhat
Information specific to subject specific details
the subject sketchy, do not
 support the
topic
Numerous errors
Grammar, Usage, Only one or More than two
No errors distract from
Mechanics Spelling two errors errors
understanding
Vocabulary is
Vocabulary is Basic
Vocabulary is unimaginative;
Interest Level varied; supporting vocabulary;
varied details lack
details is useful needs
“color”
descriptive
words
Legible writing; Legible writing; Legible writing, Illegible writing;
Neatness clean; with proper well-formed some ill formed numerous typo
text formatting characters letters errors

ASSESSMENT TASK 10-2

#ComprehensionScaffolding

Directions: Search and watch from YouTube the musical play, “Ang Huling El Bimbo”,
and describe the five (5) improvisation techniques used in such presentation. (50 points)

SCORING RUBRICS PER IMPROVISATION TECHNIQUE

GOOD FAIR POOR

CATEGORY SCORE
5 points 4 points 2 points
Main Idea Student The title of the
identifies the musical play The main idea
correct main instead of the was not stated,
idea. The main main idea. The or not clear.
idea is placed title was place The main idea
correctly on the correctly on the was not in its
graphic graphic correct place.
organizer. organizer.
Organization The graphic The graphic The graphic
organizer was organizer was organizer was
 logically adequately poorly arranged
arranged and arranged and and provided
provided provided some insufficient
sufficient detail. detail, but less detail.
There are five than five were
details given, given. The
and they all details support
support the the main idea.
main idea.
TOTAL SCORE

SUMMARY

In this Module, we have learned the different art forms like the visual arts.
Have you imagined combining these various art forms as one synchronized presentation?
What other form of art emerges? This Module focuses primarily on the various
perspectives of improvised art form. This provides interdisciplinary techniques of stage
play that reflect societal issues in the contemporary world. Its trends and thrusts move
from drawing-room comedy to absurdism, from political point of view to the theater
of science and from psychological repercussions to forms and techniques in stage
play improvisation as a vehicle to arise awareness and promote social interventions.
This involves crafting improvised script and based presentation.
 REFERENCES

Barnes, S. (2017). Art History: Ancient Practice of Textile Art and How It Continues to
Reinvent Itself. Retrieved from https://mymodernmet.com/contemporary-textile-
art-history/

Inocian, R. B., (2021). Modular Approach to Art Appreciation. Lorimar Publishing Inc: 10B
Boston Street, Brgy. Kaunlaran, Cubao, Quezon City, Metro Manila,
Philippines.

Mugadonna (2008). How to Think Like Leonardo DaVinci. Retrieved from

https://bit.ly/36fJsw7