REPUBLIC OF THE PHILIPPINES

WEST PRIME HORIZON INSTITUTE, INC.

COURSE SYLLABUS IN ART APPRECIATION

VISION
West Prime Horizon Institute envisions mature, highly-skilled and competent graduates who live
with a quality life locally and globally.

MISSION
West Prime Horizon Institute is committed to provide quality education for the 21 st century learners
through a highly competent teachers, holistic curriculum, and conducive learning environment with
advance facilities and equipment.

GOALS
1. To produce technologically skilled graduates who can apply theories into a real-life situation.
2. To develop learners’ critical thinking and decision-making abilities.
3. To provide a conducive learning environment that enhances quality teaching-learning process.
4. To cater the needs of the 21st Century learners through advance educational technology.
5. To produce a highly competitive individuals who can adapt to the needs of the local and global
society.

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 Course Syllabus

Course Name Art Appreciation

Course Code Gen Ed 10
Course Credit 3 UNITS
Pre-Requisite NONE
Course Description This course focuses on the students’ aesthetic sense in the
appreciation, analysis, and criticism of the worksof arts
throughinterdisciplinary and multimodal approaches. Thecoursealso develops
students’competencyin researches andcurative arts aswell as conceptualization
and evaluation and art production.

This course is intended to produce mature, highly-skilled and

competent graduates who live with a quality life locally and globally with holistic
curriculum, adaptive for the 21st century learners who are highly competitive
individuals and can apply theories into real-life situation.

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

Knowledge
1. Demonstratean understanding andappreciation of arts in general, including
theirfunction, value,and historical significance.
2. Defineanddemonstratetheelementsand principles ofdesign.
3. Explain and evaluate different theories of art.
4. Situate Philippine arts In global context.

Skills
1. Analyze and appreciate works of art based on aesthetic value, historical
context, tradition, and social relevance.
2. Mount an art exhibit (concept development, production and postproduction,
marketing, documentation, critiquing).
3. Create their own works of art and curate their own production or exhibit.

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 4.Utilize art for self-expression and for promoting advocacies.

Values
1. Deepen their sensitive to self, community, and society.
2. Discover and deepen their identity through art with respect to their
nationality, culture, and religion.
3. Develop an appreciation to the local arts.

Course Outline & Timeframe

Week Topics
1 Course orientation: Grading System, Requirements, Relevance of
the course
Assumptions and Nature of Arts: Creativity, Imagination
2 Function of Art and Philosophy
Subject and Content
3-4 Art and Artisans; Production Process , Medium, Technique,
Curation
5-6 Elements and Principles of Arts
7-12 Art History(Asian, Western, Philippines)
13-15 Soulmaking (Soul, Sound, Structure)
16-17 Workshops on Improvisations, Installation, Transaction
18 Local Arts

LEARNING PLAN

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Desired Learning Course Content/ Textbooks/ Teaching and Assessment Resource Time
Outcome (DLO) Subject Matter References Learning of Task Materials -
Activities table
To determine student’ Course orientation Gardner’s Art Online Discussion Essay through Modules 1
expectations of the Grading System through the google link:
course Requirements Ages: A If you were an
Relevance of the Concise artist, what
course History of kind of artist
To characterize artistic Western Art, will you be?
expression based on Fred S.
personal experiences Kleiner, 3rd., What art field
with arT Art History 2012, pp.1-2 will you
Why do people explore ?Why?
L (K) Art appreciation
create works of
Differentiate art history Art, Creativity, Hand-outs 2
art? (individual)
from art appreciation; Imagination and the sent through
Discuss the nature of expression email/faceboo
art’s preliminary k messenger
expression

What is How can you

Creativity? utilize the arts
Why is creativity
L(K) to express
necessary in art
Clarify misconceptions yourself, your 3
making?
about art; Differentiate community
Imagination When can you say
art from nature and relation to Books
in Teaching that a person is others and
4
 Assumptions of art (Art and creative? with the
is Universal; art is Learning, earth?
cultural; art is not Kieran Egan,
nature, art involves 1992, pp. 12- Lecture
experience) 37 Dynamics Insight paper:
Students will
Guide questions: select from the
“Art is good following
because it is topics:
popular” or “Artis
good because it is Why is art
O(K) universal” ageless?
Categorize works of art
by citing personal Why is art not 4
Nature and
experiences nature?
young
children, 2nd Why is art
ed., universal? Why does art
Visual Arts (2D, 3D) Encouraging
Film( Digital involves
Creative Play Why is art not experience?
arts/analog) and Learning nature? Oral recitation
Performance art in Natural
Poetry-performance Environment, Why does art
Architecture Ruth Wilson, demand
Dance 2012 pp.1-17 involvement?
Film
Literary
Theater
Applied Arts (Fashion,
Furniture) Suggested
Activity:
Debate
Individual
5
 Sharing: What
artform/artwork
has changed
something in your Group
life? Why? discussion
and plenary
L(K) presentation
FGD
Characterize the
assumptions of the Film viewing: Reflection
arts questions:
Does art
Video always have a
Art Documentary “Sa function?
Perception Duyan Ng Sining “
and (Jesuit
Appreciation, Communications)
L(K) Ortiz et al.,
Functional Art “TuklasSining “
Distinguish between 1976, pp.5-
directly functional and  Personal 15 CCP
(utilitarian ,publi If artwork did
indirectly functional not have any
art c display, Discuss basic
expression) philosophical function, will
perspectives such it remain art?
O, P (K)  Social (used for
Apply concepts and public display as: (Suggested
Gallery visit
theories on beauty and and celebration, topics)
aesthetic in real life used to affect the Art as mimesis
Reflection
scenarios collective (Plato)
paper on
behavior) Art as
student’s
 Physical representation
experiences
(Utilitarian) (Aristotle)
during visit to
L (K) Art for art’s sake
a gallery
Differentiate content (Kant)

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from subject The Art as an escape museum
Humanities, Art as functional
Dudley and Lecture
Faricy, 1968,
L, O, P (K) Philosophical import of pp. 5-22 Provide classic
Classify artworks art ( Nature of examples ORAL
according to subject Art) Recitation
 Integrity What are the two
 Proportion/ types of Quiz
Consonance representing
 Radiance/Clarity subjects? Organize a
forum about
L, O, P (S) Subject type: Alampat: An an artist’s or
Analyze how artist Representation (with Introduction artisan’s
present their subjects subject) and non- to Art brochure and
in relation to the real representation (without Appreciation, video clip to be
subject subject) Perez, Cayas, uploaded on
and Narciso, social media
2013, pp.9- (Note: before
L, O, P (S) uploading, the
12, 5-21
Source of subject teacher’s will
Characterize sources (nature, history, Greek check the
and kinds of art and Roman mythology, output for
Judeo-Christian The validation, and
L(K) tradition, sacred Humanities, observance of
Identify the medium in oriental texts, other Dudley ethics)
various forms of art, works of art) Faricy and
viz., visual, auditory, Rice, 1968, Preliminary
and combined arts pp. 8-12 Examination
(K) Kinds of subject Alampat: An Exhibit of
Define an artist or an (history, still life, Introduction artist’s and
artisan’s medium and
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technique animals, figures, to Art artisan’s
nature, landscape, Appreciation, portfolio Mini-
(K) seascape, cityscape, Perez, Cayas, exhibit of
Define the role of mythology, myth, and Narciso , Artist’s/
managers, curators, dreams, and fantasies) 2013, pp.9- artisan’s
art dealers in the art 12, 15-21 work
world (Imagination)
Content in art pp. 38-40
O, P (S) (Levels of meaning)
Differentiate between 1.Factual Dayaw (6
artist’s and artisan’s 2.Conventional episodes),
approach/technique 3.Subjective Legarda,
toward a particular 2015, online
medium Artists and artisan
Art:
Understand that the Managers, curators, Perception
Artisan’s work as an buyers, collectors, art and
end itself and the dealers Appreciation,
artist’s work is a Ortiz et al.,
means to an end 1978, pp.27-
32
(K) Production process
Identify the national (preproduction, Alampat: An
and GAMABA artists’ production, and Introduction,
notable works and postproduction) Perez, Cayas,
their contribution to and Narciso,
society Medium, technique 2013, pp. 23-
approach 25
(in visual arts, Cultural
auditory, and Center of the
combined arts) Philippines

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 LEARNING TOPIC METHODOLOGY RESOURCES ASSESSMEN
OUTCOMES T
(K) Reading the image Lecture Image to meaning: Read and
Identify various  Semiotic plane Essay’s on Philippine Research
planet in art  Iconic plane Demonstration Arts, Alice Guillermo, about
 Contextual simulation 2001, pp.1-16 selected
(K) GAMABA plane TuklasSining, Western and
Categorize and
National Artist DVD Gardner’s Art through Asian art
organize Art History the Ages: A concise
information Events/Exhibit/ “The History of Western
Managing
from different Philosophical Art, Fred S. Kleiner,
sources Audience Concept of 3rd ed., 2012, pp.1-2
(K) Beauty”,
Cave art, Egyptian and Lecture Art through the Ages: Defined
Identify the Greek Jacques A Global History, rubrics for
underlying Creative presentation
Maritain Kleiner, 15TH ed., 2016 creative
history, --- (from pp. 1032-1047 (South output
philosophy of Roman, Medieval, CreativeGallery walk and Southeast Asia,
the era or Intuition in 1200-1980, pp. 1049- Quiz
movements --- Games
Art and 1063
Chinese Painting, Poetry), (China and Korea, Oral
O, P (K) Ukiyo-e (Japanese 1953,Talk
pp. show 1279-1980, recitation
Classify the print) 122-127 pp.1064=1066(Japan,
various art Video Documentary Brochure
1333-1980), pp.994-
movements by --- 1031 (Contemporary about their
citing their Renaissance and Art Worldwide),pp. respective
important Mannerism, Baroque 948-993(Modernism topics
characteristics and Rococo and postmodernism in
such a Europe and America, Long
historical --- 1945-1980) test(True or
background, Neo-classicism, False,
factors, Romantic and Realism Art in focus, Mittler, Identification
influential 2006,pp. 136-471 fill in the
person, socio- Impressionism (Classic), pp.492-562 blanks,
political issues, Post-impressionism (Modern Art) enumeration,
and prevalent essay)
Neo-impressionism Cave Art to Modern
artist, art
forms, and Art, In Fleming Arts Individual
Symbolism, Art output
media and Ideas, 10TH ed.,
9 Nouveau Modern/
Mary Warner Marien
and William Fleming, classical
Fauvism and Works
(S) 2005, pp.1-654
Expressionism appropriation
Present the
 MIDTERM EAMINATION
A paper that analyzes their own respective topics; comparison, difference of factors, influential persons,
styles, subject, technique affecting the era or movement; notable artist and works; semiotic plane, iconic
plane, contextual plane, and evaluative plane.

FINALS
LEARNING TOPIC METHODOLOGY RESOURCES ASSESSMEN
OUTCOMES T
(K) Soulmaking Lecture Soulmaking, Narciso, Individual
Discuss the (artmaking): 2016 reflective
concept of Crafting images Demonstration essay (8
“soulmaking” Crafting stories Mick Basa, The Soul images and
Crafting instruments Simulation Maker 2013 Online 80 words to
(S) performance describe self)
Develop wokshop Nature and Young
students’ 7 da Vincian Children, 2nd ed., Quiz
artistic Principles Encoyraging Creative
potentials Play and Learning in Art output
through “soul Natural with rubrics
making” Environments, Ruth
Wilson, 2012 pp. 3-17 Art portfolio
(V)
Enhance Dela Cruz et al., Art Organize an
students’ Republik 2012, video, advocacy art
sensitivity 10 episodes or immersion
and or workshop
awareness for the
toward their community
environment

(S)
Extend to the

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 immediate
community
the students’
art works as a
form of
service
learning (e.g.
recyclable
materials)
(S) Narratives, Lecture Cultural Appropriate Creative
Characterize appropriation, and the Arts, Young, output
and define borrowing and Students are assigned 2008 pp. 1-27 Black
narratives, ownership to look for works that Film as a Signifying Students will
appropriation have been appropriated Practice: Cinema, appropriate
, borrowings, Posit five (5) acts of in any form; Discuss Narration and the an ad in any
and cultural appropriation and compare the old African-American form, take a
ownership of 1. Object and new meanings Aesthetic Tradition, picture of it
the artist or appropriation Yearwood, 2000 p. and create
any agency in 2. Content Suggested topics: 124-129 another
the art world 3. Style What contemporary art poster that
4. Motif appropriation forms or art incorporates
(S) 5. Subject expressions utilize the their new
Contextualize appropriation principle of concept
classical appropriate?
notable works What art forms are Essay
into a certain commonly
theme and appropriated?
comment on a
certain issue,
either on a
personal or

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 societal level

O, P (V)
Develop
students’
artistic ability
in any form
they would
like to
appropriate
an art
O, P (V) Textile art Soul, Video documentary HinabingPanaginip, Reflective
Draw out dreams and FrutoCorre, Bookmark essay
metaphors imagination Brief lecture video, 1999
from local Quiz(multiple
myths so Tnalak process Tnalak Illlustration Myth, Mimesis and choice,
students will and T’boli art Magic in the Music of enumeration,
value cultural DagmayPis- Mind mapping the Tboli, Mora, 2005, identification)
roots yabitSeputanganInaul p. 66-68

O, P (V) Alampat: An
Deepen Introduction to Art
students’ Appreciation, Perez,
understandin Cayas, and Narciso,
g of imaging 2013, pp. 34-40
(imagination)

SinaubangHabi.
Philippine Ancestral
Weave, Pastor-Roces,
MARIAN, 1991 PP.
206-305

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 (K) Visual elements in Lecture Sourcebook of Quiz
Analyze how Philippine traditional Philippine Traditional
line was was motifs and crafts Workshop Motifs and Crafts Individual
interpreted Processes, Mercedita output with
and utilized Decorative motifs and FGD Jose Dela Cruz, 1982, rubric
in traditional symbols, classification pp. 18-34
crafts Visual
Ukkil: Visual Arts of tapestry
(S) the Sulu Archipelago,
Develop Ligaya Fernando-
students’ Amilbangsa, 2005 pp.
ability in 15-38
manipulating
the elements
of art

(V)
Documents
changes and
the shifting
environment
such as
terrain,
texture,
sound
through
fusion of
various
elements of
art
(K) Soul and space: Lecture The MaranawTorogan, Oral
Determine the Torogan Madale 1996 pp. 7-31 recitation

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 implications Ifugao Bale Video documentary
of soul and Bahay Kubo Build
space for our BahaynaBato Collaborative artistic miniature
society Other indigenous work skeletal or
houses structural
(K) stilt houses
Characterize
how Filipinos Group activity
utilize space with rubrics
to determine
its
implications
for their
identifies,
history,
religion,
philosophy
(K) Symmetry art Lecture Ukkil: Visual Arts of Portfolio of
Discuss the Okir/Ukkil Demonstration the Sulu Archipelago, Okir-inspired
concept of workshop Ligaya Fernando- artworks in
Okir in Amilbangsa, 2005, pp. the city or
relation to Locate okir inspired 174-175 community
Islamic Art artworks in the city
(paintings, drawings, Artistic
O,P (K) architecture, functional output-
Identify the tools, jewelries, symmetry art
parts of furniture, fabric or
Okir/Ukkil fashion)

(K)
Determine the
cultural

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 relevance of
the Okir
(K) Improvision in various Lecture Cheoreography: A Workshop
Define artforms basic approach using with rubric/
improvisation Demonstration improvisation, Quiz/ Oral
Contact-body minton, 1986 pp. 18- Recitation/
(S) improvisation (Flow, Simulation 19 Group
Utilize the staccato, chaos, dynamics
body as the lyrical, stillness) FGD Improvisation for the with rubrics
basic tool in Theater, Spolin 3rd
expression Sound improvisation Performance art ed., 1999 (entire book)
and simulation (e.g.
communicatio Theatre improvisation planking, flah mob, Culture of
n happenings) Improvisation
Solving Antolihao 2004 pp.
(V) improvisational 83-84
Strengthen challenges
students’ The wave Dance Roth
initiative and 2008 online
artistic
sensibilities TheWay of
Improvisation, Morris,
2011, online
L, O (K) Indigenous art Lecture Local Community Reflective
Trace and Muslim art Creative presentation immersion Essay/Quiz/
summarize Christian art Exhibit (online and Gallery/Studies or Exam
the Contemporary art actual) workshop visit
development Practice and (immersion research
of the arts, movement of their own
art community
appreciation,
and

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 aesthetics in
contemporary
art practice
(V)
Appreciate
better the
history and
development
of Philippine
arts
Partial A five-minute individual art talk; a summative, application or reflection of all the ideas
requirement and concepts that students have learned by discussing any topic/theme, artwork,
Long test concepts, ideas, nature of the art; either cultural, artistic, historical, object, artifact,
movement,practice.

COURSE REQUIREMENTS

 Regular attendance in class

 Active participation in class through board work and recitation
 Submit assignments and project on time and pass the quizzes and examination
 Complete outputs

GRADING SYSTEM

Midterm Percentage
Written Long Exam 40%
Class Active Participation 30%
(group work/ mini-outputs in

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 tasks/among others)
Quizzes/ work sheets/ 30%
assignment/ attendance
Total 100%

Finals Percentage
Quizzes/ work sheets/ 25%
assignment/ attendance
Summative exam 30%
Portfolio 20%
Class active participation 25%
(group work/ mini-outputs in
tasks/among others)
Total 100%

Final Grade = Midterm Grade + Tentative Final Grade

2

Prepared by: Verified by: Approved by:

SWEETROSE P. PACILAN TEODORA L. RAPADAS ARIEL S. BINAG

Faculty College Dean Acting School President

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