SPECIAL PROGRAM IN THE ARTS

9
Quarter 1
Module1

Pre-Spanish Art
SPA-Visual Arts 9
Quarter 1 – Module 1: Pre-Spanish Art
First Edition, 2020

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Published by the Department of Education - Schools Division of Pasig City

Development Team of the Self-Learning Module

W riter: Melque L. Molines
Editor: Melanie G. Logdat
Reviewers: Melanie G. Logdat
Illustrator: Edison P. Clet
Layout Artist: Elinette B. Dela Cruz
Management Team: Ma. Evalou Concepcion A. Agustin
OIC-Schools Division Superintendent
Aurelio G. Alfonso EdD
OIC-Assistant Schools Division Superintendent
Victor M. Javeña EdD
Chief, School Governance and Operations Division and
OIC-Chief, Curriculum Implementation Division

Education Program Supervisors

Librada L. Agon EdD (EPP/TLE/TVL/TVE)

Liza A. Alvarez (Science/STEM/SSP)
Bernard R. Balitao (AP/HUMSS)
Joselito E. Calios (English/SPFL/GAS)
Norlyn D. Conde EdD (MAPEH/SPA/SPS/HOPE/A&D/Sports)
W ilma Q. Del Rosario (LRMS/ADM)
Ma. Teresita E. Herrera EdD (Filipino/GAS/Piling Larang)
Perlita M. Ignacio PhD (EsP)
Dulce O. Santos PhD (Kindergarten/MTB-MLE)
Teresita P. Tagulao EdD (Mathematics/ABM)

Printed in the Philippines by Department of Education – Schools Division of

Pasig City.
 Visual Arts
SPECIAL PROGRAM IN THE ARTS
9
Quarter 1
Module1
Pre- Spanish Art
Introductory Message

For the Facilitator:

Welcome to the Visual Art 9 Self-Learning Module on Spanish Art Influence

(Development of Visual Consciousness).

This Self-Learning Module was collaboratively designed, developed and

reviewed by educators from the Schools Division Office of Pasig City headed by its
Officer-in-Charge Schools Division Superintendent, Ma. Evalou Concepcion A.
Agustin, in partnership with the City Government of Pasig through its mayor,
Honorable Victor Ma. Regis N. Sotto. The writers utilized the standards set by the K
to 12 Curriculum using the Most Essential Learning Competencies (MELC) in
developing this instructional resource.

This learning material hopes to engage the learners in guided and independent
learning activities at their own pace and time. Further, this also aims to help learners
acquire the needed 21st century skills especially the 5 Cs, namely: Communication,
Collaboration, Creativity, Critical Thinking, and Character while taking into
consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to kee p track of the learners' progress while allowing them to
manage their own learning. Moreover, you are expected to encourage and assist the
learners as they do the tasks included in the module.
 For the Learner:

Welcome to the Visual Art 9 Self-Learning Module on Pre-Spanish Art

This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning material while being an active
learner.

This module has the following parts and corresponding icons:

Expectations - This points to the set of knowledge and skills

that you will learn after completing the module.

Pretest - This measures your prior knowledge about the lesson

at hand.

Recap - This part of the module provides a review of concepts

and skills that you already know about a previous lesson.

Lesson - This section discusses the topic in the module.

Activities - This is a set of activities that you need to perform.

W rap-Up - This section summarizes the concepts and

application of the lesson.

Valuing - This part integrates a desirable moral value in the

lesson.

Posttest - This measures how much you have learned from the
entire module.
 EXPECTATIONS
Most Essential Learning Competencies
 Reviews the different Pre-Colonial arts considering the function and traditiona l
designs.
Specific Objectives
 Identify the different Pre-Colonial arts
 Explain the icons, symbols and traditional designs
 Show appreciation in the Pre-Colonial arts

PRETEST
Directions: Identify the following pictures below.

1.

1. 2. 3.

Note: Pictures of composers were taken from https://en.wikipedia.org. Used under fair dealing provision.
 RECAP

Directions: Multiple choice. Choose the letter of the correct answer. Write your answer in
the blank before each number.
_______ 1. What is the stands for a complex relation between visual stimuli and a personal
understanding of them?
A. Line C. Space
B. Perception D. Texture
_______ 2. What is a method to build a common visual vocabulary in the context of arranging elements
in a two-dimensional space?
A. Cues C. Order
B. Form D. Size
_______ 3. What is the ability to interpret the surrounding environment using light in
the visible spectrum reflected by the objects in the environment?
A. Visual Cues C. Visual Perception
B. Visual Order D. Visual Texture
_______ 4. What is the elements of visual perception that do not carry the primary message?
A. Balance C. Form
B. Cues D. Line
_______ 5. What is the element of art, refers to the emptiness or area between, around, above,
below, or within objects?
A. Line C. Space
B. Shape D. Texture

LESSON

Pre-Spanish Arts
The Philippines were ruled by Western powers - first the Spanish and later the United States, for
some 350 years. Except for a few religious minorities, the Philippines have also become thoroughly
Christianized and boasts of being the only country in Southeast Asia with a Christian majority.

This leaves few traces of its pre-colonial history, in which the culture of the archipelago was influenced by
India, China, and Southeast Asian civilizations. The pre-colonial Philippines were also influenced by
spiritual traditions from indigenous animism, Islam, Buddhism, and Hinduism.
 Though the ethnic art forms such as pottery, weaving and metalwork were retained,
the Spanish friars and the Chinese, the colony's primary trading partner, were slowly
introducing newer art forms. Icons brought by the friars were used as models for sculpture.

Different Crafts in Pre-Spanish Arts

1. Utilitarian Vessels

Manunggul Jar

- is a secondary burial jar excavated from

a Neolithic burial site in the Manunggul cave of the Tabon
Caves at Lipuun Point in Palawan. It dates from 890–710
B.C.[2] and the two prominent figures at the top handle of its
cover represent the journey of the soul to the afterlife

Palayok
-is a clay pot used as the traditional food
preparation container in
the Philippines. Palayok is a Tagalog word; in
other parts of the country, especially in
the Visayas, it is called a kulon; smaller-s ized
pots are referred to as anglit.
Neighboring Indonesia and Malaysia refer to
such vessel as a periuk.

2. Icons and Symbols

Symbolism is part and parcel of pre-colonial Filipino warrior

culture. A certain clothing, tattoo or cicatrix may connote the
wearer’s status in the warrior society.

Tattooing was widely practiced in pre-colonial Philipp ine s

both for the purposes of ornamentation and rite of passage. This was
particularly well-known in the Visayas and among the highla nd
tribes of northern Luzon. So widespread was the practice of
tattooing in the Visayas that the Spaniards coined the Visayans
“pintados” [painted] because their bodies were covered with tattoos.
Batuk is the general term for tattoos in the Visayas. Even today, an
annual feast called Pintados Festival is celebrated in Tacloban to
pay tribute to the ancient tattooing tradition of the Visayans. In the mountainous part of
northern Luzon, tattooing traditions are still preserved today within certain tribes.
3. Woodcarving

Bul’ul, also known as tinagtaggu, is a carved

wooden figure used to guard the rice crop by the Ifugao
(and their sub-tribe Kalanguya) peoples of northern
Luzon. The sculptures are highly stylized
representations of ancestors and are thought to gain
power from the presence of the ancestral spirit.

4. Traditional Design
Weaving is a process used to create fabric by
interlacing threads. Weft threads are laced over and
under and run horizontally to the warp threads. By
working the warp and weft threads at right angles, a
weaver can create fabric materials like cloth, carpets, or
tapestries.

The traditional weaving is to produce with

a traditional instrument of wood, all kinds of
traditional fabrics of wool, cotton, and silk.

Malong is a traditional Filipino rectangular or

tube-like wraparound skirt bearing a variety of
geometric or okir designs. The malong is traditiona lly
used as a garment by both men and women of the numerous ethnic groups in the mainla nd
Mindanao and parts of the Sulu Archipelago.

5. Sarnimanok- It is a legendary bird or artific ia l

cock that has become a symbol of the Maranaw. It is
depicted as a fowl with wings and feathered tail,
holding a fish on its beak or talons. The head is
profusely decorated with scroll, leaf, and spiral motifs.
According to some stories the Sarimanok originated
from the island of Mindanao and is known to be a
legendary bird of the Maranao people.

6. Okir- or okil is the term for geometric and flowing

plant-based designs and folk motifs that can be usually
found among the Moro and Lumad peoples of the
Southern Philippines, as well as parts of Sabah. It is
particularly associated with the artwork of the
Maranao. It depicts the artistic skills and the cultura l
heritage of the Maranao.
 ACTIVITIES
DAY 1

ACTIVITY 1

Directions: Identify what is being asked on each item below. Write your answer on the space
provided before the number. You may choose your answers inside the box.

Palayok Malong Manggul Jar

Pintados Bul ul
Woodcarving
Weaving Batuk

__________ 1. It is a traditional Filipino rectangular or tube-like wraparound skirt bearing a

variety of geometric or okir designs.

__________ 2. It is a process used to create fabric by interlacing threads.

__________ 3. It is a carved wooden figure used to guard the rice crop by the Ifugao.

__________ 4. It is a secondary burial jar excavated from a Neolithic burial site.

__________ 5. It is the general term for tattoos in Visayas.

DAY 2

ACTIVITY 2

Directions. Identify what is being asked on each item below. Use the jumbled letters as a hint.
Write your answers on the space provided before the number.

__________ 1. One of the most Ancient art in the pre-colonial period.

T YO PT E R

__________ 2. It is a type of weaving from the tribe of T’boli in South Cotabato.

NAK T

__________ 3. These are ornate curvilinear designs carved in woods from the tribe of Tausug
in Maranao.

KI RO
__________ 4. A multi-color legendary bird of the Maranao.

SRAINOK AM

__________ 5. It is the second largest island in the Philippines at the Southern end of the
archipelago.

MANAOI ND
DAY 3
ACTIVITY 3- PAPER WEAVING.
Directions|: Make your own paper matt out of colored papers by following the steps below.
Materials:
Colored papers
Glue
Scissors

Procedure:

Step 1- Fold the colored paper in half.

Step 2- Cut slits. Cut evenly –spaced slits about 1 inch wide starting from the folded edge and
stopping about 1 inch from the opposite edge.

Step 3- Carefully unfold the paper.

Step 4- Cut colored paper strips with a measurement of 1 inch wide and 10 inches long. The
strips must be longer than the length of your square. If your paper in rectangle, the strips should
be longer than the side perpendicular to the side.

Step 5- Take one strip and weave it across the slits going over and under the slit.

Step 6 - Move the woven strip to the top and start with the next one. Weave the second strip in
an opposite pattern as the first. If your first strip went over and under the slits, the second strip
should go under and over the slits.

Step 7- Weave more strips in an alternating pattern until you get to the bottom of the slits and
your square or rectangle is full.

Step 8 - Carefully flip the paper square so that the back is now facing up. Apply glue at the
ends of each paper strip.

Step 9 - Fold the ends of each strip over the edges of the paper square or over the slits. Press to
glue in place.
Step 10- Flip the woven paper square again so that the folded ends are concealed at the bottom.

WRAP–UP
I have learned that Pre-Spanish Art is
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VALUING

What was the way of life of the pre-colonial people? Do you think their life is
better than ours today? Why or why not? Explain your answer.
REFLECTION

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 POSTTEST

Directions: Matching Type. Match Column A to Column B. Write the letter of the correct
answer on the space provided.

A B

______ 1. Manunggul Jar A. Weaving

______ 2. Malong B. Pot

______ 3. Palayok C. Free-standing

______ 4. Bulul D. Pintados

______ 5. Tattoo E. burial

KEY TO CORRECTION

5.Mindanao 9. Batuk
4. Sarimanok 8. Mamggul Jar
3. Okir 7. Bulul
2. T’nak 6. Weaving
1. Pottery 5. Malong
ACTIVITY NO.2 ACTIVITY NO.1

5. D 5.Tattoo
D 5. 4. palayok
4. B
C 4. 3. wood carving
3. B
B 3. 2. Malong
2. C
A 2. 1. Manggul Jar
1. C
E 1.
POSTTEST RECAP PRETEST
 REFERENCES
 Website
https://www.britannica.com/place/Philippines/The-Spanish-period
https://upload.wikimedia.org/wikipedia/commons/e/eb/Manunggul_Jar.jpg
https://agamang.igorotage.com/media/seo/2019-04-22/20190422_1555945774.jpg
https://www.azquotes.com/
https://en.wikipedia.org/
https://philippineart.tumblr.com/
https://www.ancient-origins.net/
 ACKNOWLEDGEMENT
_____________________________________________
EDISON P. CLET
Illustration

ELINETTE B. DELA CRUZ

Project Development Officer II (LRMS)
Lay-out Artist

MELQUE L. MOLINES
Video/ PowerPoint Presenter

MELANIE G. LOGDAT
Validator
MARIVIC D. LISING
MAPEH Department Head

GILBERT O. INOCENCIO
Rizal High School
School Head

NORLYN D. CONDE
MAPEH Education Program Supervisor

RODOLFO B. MANUEL/ROLANDO C. JULIAN

Public Schools District Supervisor