Gart Learning Packet Hyflex

Document Code FM-STL-013
Saint Louis University Revision No. 01

School of Teacher Education and Liberal Arts Effectivity August 15, 2022
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REF GENERIC-GART-2021
COURSE GUIDE
I. Course Title: Art Appreciation
II. Course Overview
A. Introduction
Art appreciation is a three-unit course that introduces and exposes the students to the
creative output of humanity both in theory and practice. It aims to enhance the students’
awareness and sensitivity to the state of arts and culture in general and Philippine arts in
particular. The course also develops students’ competency in researching about and
analyzing various artworks in different modalities. The course is a study of the general art
forms which may include but are not limited to visual, literary and performing arts.
B. Course Learning Outcomes
As future professionals you are expected to be well-rounded individuals. To unlock your

artistic and creative skills, you should demonstrate the following competencies in this
course:
1. demonstrate knowledge and appreciation of arts in general, including their
content, function, value, and historical significance;
2. analyze local and global works of art based on aesthetic value, cultural context,
and socio-political relevance;
3. create your own artworks to enhance your self-awareness and creativity;
4. present a creative production applying the principles of performing arts; and
5. deepen your identity through art with respect to your nationality, culture, and
religion.
C. Module and Unit Topics
This Art Appreciation HyFlex Education Learning Material addresses one of the
General Education Core Course in the New General Education Curriculum mandated by
CMO 20, s. 2013. The authors used the Art Appreciation syllabus released by the
Commission on Higher Education as a guide in crafting this material.
This material consists of five modules: each module articulates learning outcomes from the
CHED PC syllabus and each module consists of units with specific learning outcomes that
gear towards the attainment of the learning outcomes of each module.
Each unit is composed of 5 parts, namely, Engage, Explore, Explain, Elaborate, and
Evaluate. The Engage part aims to help you see the importance of the lesson on your
academic endeavors, field of specialization, and/ or future career. Explore presents the
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main lesson through the materials that will be read, reviewed, or explored. Explain contains
the activities that will allow you to share what you have learned during the Explore phase,
that will allow the teacher to explain further the information from the materials in your
context as students, and that will provide additional recordings or readings that has further
explanation to the materials presented in the Explore stage. These additional materials can
be article reviews, videos, commentaries, or other aids that aim to boost understanding of
the lesson. Elaborate engages you to apply the fundamental concepts learned in each
lesson. This will provide you the opportunity to enhance your knowledge and skills before
the evaluation. Evaluate may include graded self-assessment, peer-assessment, writing
assignments, and exams.
Module 1 introduces essential terms in art. This module is comprised of three units
focusing on the concepts of art appreciation and key concepts on art. It details
definitions of art, creativity, imagination, and expression; the different functions of art,
and the assumptions of art.
Module 2 centers on the various elements and principles of art across art forms.
Module 3 underscores content in art. Specifically, this module dwells on artworks’
factual, conventional, and subjective meanings.
Module 4 details the mediums in art; art movements; and narration, borrowing, and
appropriation. It also dwells on the underlying concepts that have shaped each art
movement. The different artists of each movement are, likewise, reviewed.
Module 5 centers on the mind and work of an artist. The differences between an artist
and an artisan are clarified. Further, the seven principles of Da Vinci that every artist
needs to know are elucidated. A study of a specific artist will, likewise, be conducted.
Module 6 highlights the different textile patterns in the Philippines and their
corresponding cultural significance.
Module 7 details the various forms of art expression. This module particularly presents
the various forms of music genre and composers, transcreation of music and other art
forms, as well as improvisation as an art.
III. Course Study Guide
The key to successfully finish this online course lies in your hands. This learning material is
prepared for you to learn diligently, intelligently, and independently. The lessons will greatly
help and prepare you to become great professionals in your own fields of specialization.
Aside from meeting the content and performance standards of this course in accomplishing
the required activities, you will be able to learn other invaluable learning skills such as learning
how to follow instructions, to exhibit discipline, and to abide by school policies and house
rules such as the following:
1. You are strongly reminded of these guidelines from SLU Student Handbook.
Chapter IV: Code of Discipline

Sec. 8. Defaming any student, teacher, personnel, or university authority or his
agents; giving oral, or sending, disseminating or posting any written or electronically
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transmitted message or graphics, or demonstrating offensive gesture, which causes

a person or his reputation or good name to be threatened, harassed, maligned,
besmirched, disgraced, degraded, insulted, ridiculed, or defamed.
1st violation: Warning/Reprimand to Suspension
2nd violation: Suspension to Dismissal/Non admission
3rd violation: Suspension to Expulsion
Sec. 24. Cheating during examinations and quizzes, or plagiarism in connection with
academic work, or abetting the commission of the same.
1st violation: Warning with invalidation of grade

2nd violation: Censure to Suspension with invalidation of grade
3rd violation: Suspension to Dismissal/Non-readmission with invalidation of
grade
N.B. Addition by Language and Communication Department ( August 2020)

• Included in the forms of cheating are the following:
a. Patch writing: a form of plagiarism; refers to the act of making small
changes and substitutions to copied source material (Merriam-Webster,
2020)
b. Sharing your work/task designated as individual work to other students
c. Copying your classmate’s or schoolmate’s individual work
Commission of any of these will mean zero credit.
• Your teachers have the prerogative of having your written tasks under plagscan
or other plagiarism checker tools.
Sec. 25. Abusive behavior or discourtesy towards university officials, faculty members,
personnel, guards, and duly elected or appointed KASAMA/SSC officers.
1st violation: Warning to Suspension

2nd violation: Censure/Reprimand to Suspension
3rd violation: Suspension to Dismissal/Non-readmission
2. Schedule and manage your time to read and understand every part of the module.
Read it over and over until you understand the point. Please note that due to the
problems on erratic internet connections and to be able to cooperate with the
government in observing the ECQ protocols, this online course will be delivered
asynchronously.
3. Study how you can manage to do the activities of this course in consideration of your
other modules from other courses. Be very conscious with the study schedule. Post it
on a conspicuous place so that you can always see. Do not ask your course facilitator
about questions that are already answered in the guide.
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4. Log in to the course site at least thrice a week (if you can log in daily, do so) and as
scheduled to keep abreast of important announcements, discussions, and other class
activities. Check the STREAM page every time you log in for possible announcements.
5. Do not procrastinate. Remember, it is not others who will be short-changed if you will
not do your work on time.
6. Before you start doing your tasks, read and understand the assessment tools provided.
Do not settle with the low standards, target the highest standards in doing your
assigned tasks. I know you can.
7. You are free to browse and read the different materials even prior to doing the tasks
in each unit of the module. However, you need to ensure that you will not miss any
part of the module and you will not missed to accomplish every activity in every unit
as scheduled.
8. All course discussions will be conducted using Google Meet and Google Hangouts. If
you will be using mobile app of Google Meet and Google Hangouts, stay logged in
so you can engage in the discussion anytime and anywhere. If you are using the
desktop app, regularly log in to stay in the discussion.
9. All the discussions are academic discussions, which mean that the relevant academic
conventions apply.
a. Your post should be composed of complete and grammatically correct
sentences. Do not use abbreviations and acronyms unless these are
introduced in the readings, and do not write in text-speak. Avoid writing in all
caps.
b. Post appropriate and well-thought rejoinders. Avoid merely approving or
disapproving with your classmates and course facilitators. You need to support
your inputs in the discussions from reliable information and resources. Do not
post uninformed opinions.
c. Read and analyze the contributions made by your classmates in the discussion
forums. Respond appropriately and courteously. Always use proper language.
d. Be polite and respectful arguing a point and in defending your opinions. Do
not be rude and do not make remarks that may be construed as a personal
attack. Refer to ideas/statements, not the person. Remember that the
objective of academic discussion is to develop your critical and analytical
thinking skills apart from contributing to the wealth of knowledge.
e. Do not post lengthy contributions. Stick to the point. Be clear what your main
point is and express it as concisely as possible. Do not let the discussion stray.
f. Quote your sources in the online discussion by mentioning the last name of the
author and the year. No need to use a particular style.
g. Protect your privacy. Ponder before you post. If you wish to share something
private, do it by email or private chat.
10. Do not plagiarize and do not patch write. Patchwriting is still a form or plagiarism. It
refers to the act of making small changes and substitutions to copied source material
(Merriam-Webster, 2020).
11. Follow the schedule of course activities. Always remind yourself of deadlines. Read in
advance. Try to anticipate possible conflicts between your personal schedule and
the course schedule, and make the appropriate adjustments. Try your best to inform
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through any means your course facilitator for any unavoidable delays or "absences"
or "silences" of more than a week's duration or other concerns.
12. Note that our Google Classroom is a virtual learning environment, not a social
networking site. Use recent and appropriate ID photo on your profile page for proper
identification.
13. Lastly, you are the learner; hence, you do the module on your own. Your family
members and friends at home will support you but the activities must be done by you.
As Louisan, we always need to demonstrate our core values of competence,
creativity, social involvement and Christian spirit.
III. Study Schedule
Schedule Topic Learning Activities

Outcomes
PRELIMS
MODULE 1 INTRODUCTION AND OVERVIEW OF ART
UNIT 1 Definition of Art Appreciation and Key Concepts on Art

Week 1 -2 1. Explain the Engage: Gauging Art
concept of art Explore: Defining Art and Art Appreciation
appreciation • Creativity
• Imagination
and the nature
• Beauty
of art Explain: Understanding Assumptions of Art
Elaborate: Watching African Body Modifications
2. Evaluate
(https://www.youtube.com/watch?v=wwOXCmjTs
assumptions on vs
art Evaluate: (FORMATIVE ASSESSMENT)
Reading Choices:
A. Poleteismo (Formative Assessment)
B. What are the health benefits of being creative?
from
https://www.medicalnewstoday.com/articles/3209
47
C. The Fear Of Art: Contemporary Art Censorship
from https://magazine.artland.com/the-fear-of-art-
contemporary-art-censorship//
UNIT 2 Functions of Art

Week 3-4 4. Determine
the functions of Engage: Reflecting on the purpose of art
art Explore: Demystifying the functions of art
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Explain: Understanding better the functions of art

through Soul and Space
Elaborate: Identifying the functions of art
Evaluate: Task 1: TEACHER PREPARED GOOGLE QUIZ
UNIT 3 SUBJECT IN ART
Week 5-6 5. Classify Engage: Evaluating Representational and non-

artworks based representational paintings
on the
kinds/sources of Explore: Studying the kinds of subject in art and
subject and sources of subject in art
methods used Explain: Watching a video
Elaborate: Analyzing subject in art

Evaluate: Task 2: TEACHER PREPARED GOOGLE QUIZ
PRELIM INTEGRATED ACTIVITY: CREATING A SELF-

PORTRAIT ARTWORK (50PTS)
MIDTERM
MODULE 2 ELEMENTS AND PRINCIPLES OF ART
Week 1 1. Identify Engage: Discover thru pictures the elements and

the principles of art
elements Explore: Explore the elements of art
and Explain: Discuss the principles of art
principles Elaborate: Show examples for each element and
of art. principle
Evaluate:
Task 3:
TEACHER-PREPARED ASSESSMENT (15 PTS)
MODULE 3 CONTENT IN ART

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Week 2-3 2. Analyze

the Engage: Eliciting student reaction
content Explore: Brainstorm on the ideas from the engage
of an part
artwork in Explain: Discuss content in art
terms of Elaborate: Expound on the levels of meaning
its Evaluate:
factual, Task 4: CHOICE of TEACHER:
conventi A. Painting Analysis
onal, and B. TEACHER PREPARED QUIZ
subjectiv (30 pts.)
e
meaning
MODULE 4 ART HISTORY/ ART MOVEMENTS
Week 4-6 7. Determine Engage: Discovering your Art Movement

the distinct Explore: Exploring the Mediums and Art
features of the movements
movements of Explain: Defining Narration, Borrowing,
art and their Appropriation in Art
applications in Elaborate: Article Reading on Borrowing,
business Appropriation in Art
economics as
specialization Evaluate:
MIDTERM INTEGRATED ACTIVITY:
Photo Appropriation of Artwork (50PTS)
MIDTERM EXAM
FINALS
MODULE 5 THE MIND AND WORK OF AN ARTIST
Week 1-2 7. Explain the Engage: Determining art and the artisan
role of artists
and artisans Explore: Exploring the artist and the artisan
and their unique
approach/tech Explain: Defining the 7 principles
nique in art
Elaborate: Stimulating activities of the principles
8. Explain the
Evaluate:
Da Vincian
Task 5: TEACHER PREPARED QUIZ
Principles and
(30PTS)
their application
in Life.
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MODULE 6 TEXTILE ART AND EMBEDDED CULTURE
Week 3-4 9. Identifying Engage: Making choices

cultural patterns
expressed in Explore: Weaving concepts in textile art
textile art
Explain: Elucidating textile art
10. Comparing
and contrasting Elaborate: Comparing and contrasting weaving
weaving designs
designs
Evaluate
11. Interpreting Task 6: INTERPRETING TEXTILE ARTTHROUGHH
textile art DESIGN MAKING
through design (40pts)
MODULE 7 VARIOUS ART EXPRESSIONS
Week 5-6 11.Compare Engage: Eliciting emotive responses

instrumental
music form Explore: Comparing different instrumental music
forms and musical composition
12. Interpret
music through Explain: Linking music with transcreation
transcreation
Elaborate: Understanding Improvisation
Evaluate: Object improvisation (FINAL

REQUIREMENT)
FINAL EXAMINATION
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IV. Evaluation
To pass the course, you must:
1. Read all course readings and answer the pre-assessment quizzes, self- assessment
activities, and reflection questions.
2. Participate in the asynchronous online discussion forums quizzes.
3. Submit all the tasks identified in the study schedule.
4. Take the Midterm and Final Examinations.
Formative Assessment
• You are required to answer the pre-assessment quizzes, self-assessment activities, and
reflection questions but your scores in the quizzes will not be counted towards your
final grade. The reflection questions are designed to help you critically analyze the
course readings for better understanding while the pre-assessment quizzes and self-
assessment activities are designed as a review management tool to prepare you for
the two graded quizzes and the periodical examinations. The results will also serve as
a guide to the facilitator to identify students who will need more reinforcement and
assistance.
• The pre-assessment quizzes, self-assessment activities, and reflection questions are
posted so you can take them anytime within the scheduled days assigned for each
unit.
Summative Assessment
All the tasks identified in your study schedule, non-negotiable requirements, and
examinations which are embedded in your module are accompanied by guidelines and
grading rubrics or score sheets. Answer them according to the guidelines and rubric/ score
sheets. If needed, contact me thru my messenger account, email, or phone number
reflected below this course guide.
Grading System
Your grades will be computed according to the following weight allocations:
Prelim Grade
CS (online discussion, assignment 1-2, quiz) = 60%

Examination = 40%
Total = 100%
Midterm Grade

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Examination = 40%
Total = 100%
Tentative Final Grade

Examination = 40%
Total = 100%
Final Grade
Prelim Grade = 30%

Midterm Grade = 30%
Tentative Final Grade = 40%
Total = 100%
V. Technological Tools
To be able to accomplish all the tasks in this course, you will be needing the following
software applications: Word Processing, Presentation, Publication, and Spreadsheet. You
also need to have a laptop/ desktop or a smartphone/ tablet.
VI. Contact Information of the Facilitator
For questions or clarifications, please contact
LANGUAGES AND COMMUNICATION DEPARTMENT: 0968-269-6347 OR 0906-079-0803

STELA DEAN'S OFFICE: 0938-757-7842 OR 0953-134-9220
Prepared by:
Languages and Communication Department
ASSIGNMENT GUIDE
PRELIMS
TASK 1
Identifying Various Functions of Art
I. Output
Art may be a complex thing to study. In this activity, you must be able to determine
the possible function of a given art. Based on your thorough understanding of the
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functions of art, the possible overlap of functions, and soul and space, decide on the
most striking functions of some identified works of art.
II. Rationale
As art is seen in various media these days, it is crucial that you are able to recognize
the intentions, inspirations, and ideas behind art creation and the function that art and
art spaces serve you as recipient, viewer, or occupier. It is also vital that you should be
able to look into how art might function differently on a personal, social, national, and
cross-cultural level.
III. Materials
Module lecture and supplementary notes.
IV. Specific Guidelines
After reading Unit 1 and Unit 2 and the aforementioned materials, you may take
the teacher prepared quiz.
TASK 2
SUBJECT IN ART
I. Output
Artistic portrayal of subjects may be birthed out of many reasons including personal
ones. Constructing works of art may be based on one’s observation, experience, or
perception. Art is an expression of thoughts, intuitions, desires, and emotions. As an individual
you have a unique expression. You are bound to create a work that may ignite your artistic
interest or be an additive to your already existing artistic style. This output will require you to
utilize your knowledge of art movements, styles, and techniques into your art work.
II. Rationale
Prior to the formation of formal education, Art has already existed across cultures. For
various purposes or functions, art was and is highly integrated into diverse human activities.
Thus, each work is marked with a personal history. This history behind artworks is also a
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discovery of how different cultures and tribes flourished through art. The study of art
movements does not only allow a person to look into artistic periods transversely through
history, but also delve into various fields such as economics, politics, anthropology,
aesthetics, and history. It allows learners to harness knowledge, inspiration, and insights that
will eventually enhance how they perceive the world as people.
This lesson on art movement is in compliance with CHED CMO-No.20-s2013 that states
that regardless of the learner’s major, General Education courses including Art Appreciation
expose learners to intellectual competencies such as critical, analytical, creative thinking,
and multiple forms of expression.
III. Materials
Read and understand the details provided in UNIT 3
After reading Unit 3 and the aforementioned materials, you may take the teacher
prepared quiz.
INTEGRATED PRELIM ACTIVITY

CREATING A SELF-PORTRAIT
I. Output
For this integrated activity, you are expected to create your own self-portrait.
II. Rationale
After discussing what art is and what is not; subject of art, and identifying
art. It is essential to be able to create your own art and express yourself. After all,
art is an expression, an experience, cultural, universal, and not nature.
III. Materials
Choose your own art material. The artwork should be original.

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After reading Unit 1, Unit 2, and unit 3 the aforementioned materials, you create
your own self-portrait.
V. Evaluation tool
RUBRIC (50 points)

13-15 9-12 5-8 1-4
RESEMBLANCE Artwork shows Artwork shows Artwork shows Artwork shows
exceptional good fair poor
semblance to semblance to semblance to semblance.
the photo of the the photo of the the photo of
student. student. the student.
9 - 10 6-8 3-5 1-2

CRAFTMANSHI Artwork is Artwork is Artwork has Artwork lacks
P expressive and expressive and few almost all detail
detailed. somewhat details. It is OR
Shapes, detailed. primarily it is unclear
patterns, value Fair use has representation what
and/or texture been al the output is
are used to add made of with very little intended to be.
interest to the shapes, use Student needs
artwork. patterns, value of shapes, to
and/or texture. patterns, value work in control.
Student had the and/or texture.
basic skills but Student needs
had to
not branched improve
out. control.
CREATIVITY The student has The student has The student has The student has
taken the taken the copied parts of not
method method the made much
being studied being studied as artwork from attempt to
and his/her own but another source reflect
applied it in a has material. There his/her own
way used another is personality/voic
that is totally source material little evidence e
his/her own. The as of in the artwork.
student’s a starting place. creativity.
personality/voic The student’s
e personality/voic
comes through. e
comes through
in
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parts of the
artwork.
5 4 3 1-2
EFFORT Artwork is done Artwork is done Artwork is done Work is done
with exceptional with good care with basic care with
care and and attention to and attention minimal care
attention detail and to and
to detail and neatness. It detail and attention to
neatness. It shows neatness. It detail
shows student’s fair shows and neatness.
student’s concern for a a sense of
concern quality output. student’s
for a high concern
quality for a quality
output. output.
MECHANICS The student has The student has The student has The student has
followed all the followed three followed two of followed one of
required format, of the the required
materials, and the required required format,
size format, format, materials,
for the output. materials, materials, and and size for the
and size for the size output.
output. for the output.
Punctuality The student The student The student The student
passed the task passed the art passed the passed the
on time. work 1 minute to artwork artwork after
1 hour late. beyond one one day.
hour after the
deadline.
MIDTERMS
Task 1
Elements and Principle of art
I. Output
You are bound to identify the elements and principles of art. These concepts are
needed to analyze the content in art and various art genres.
II. Rationale
CHED CMO-No.20-s2013 presents the goals of Higher Education. Section 1 of the

Memorandum Order states that, in a global community, Filipino students recognize and
respect the fundamental humanity of all, respect and appreciate diversity, and care about
the problems that affect the world.
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Through this unit, the learner will be able to easily analyze art works by applying the elements
and principles of art discussed in class.
III. Specific Guidelines
After reading Module 2 and the aforementioned materials, you may take the
teacher prepared quiz.
Task 2
CONTENT IN ART
I. Output
Art reflects a gamut of meaning. This activity requires you to express your
understanding of subject and meaning behind an artwork. With your broad knowledge
of things that surround you, your exposure to the world and the events that continuously
form who main is, you are going to elucidate the factual, conventional, and subjective
meanings of art.
II. Rationale
One important skill that is enhanced in the tertiary level is the students’ critical
thinking skills. When they make work of art, they develop conceptual and interpretative
thinking like observation, reasoning, and problem-solving. These skills of critical thinking
are in play when they observe and analyze any form of art which may result in students
seeing social realities and embracing diversity. Moreover, this will aid them in their
understanding and visualization of other core subjects that require higher order thinking
skills.
III. Materials
You may refer to your module for the information referred by your teacher.
After reading Module 4 and the aforementioned materials, follow the instructions
of the facilitator.
INTEGRATED MIDTERM ACTIVITY
PHOTO APPROPRIATION
I. Output
Artistic portrayal of subjects may be birthed out of many
reasons including personal ones. Constructing works of art may be based on
one’s observation, experience, or perception. Art is an expression of thoughts,
intuitions, desires, and emotions. As an individual you have a unique expression. You
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are bound to create a work that may ignite your artistic interest or be an additive
to your already existing artistic style. This output will require you to utilize
your knowledge of art movements, styles, and techniques into your art work.
II. Rationale
Prior to the formation of formal education, Art has already existed
across cultures. For various purposes or functions, art was and is highly integrated
into diverse human activities. Thus, each work is marked with a personal history.
This history behind artworks is also a discovery of how different cultures and
tribes flourished through art. The study of art movements does not only allow a
person to look into artistic periods transversely through history, but also delve into
various fields such as economics, politics, anthropology, aesthetics, and history. It
allows learners to harness knowledge, inspiration, and insights that will
eventually enhance how they perceive the world as people.
This lesson on art movement is in compliance with CHED CMO-No.20-
s2013 that states that regardless of the learner’s major, General Education
courses including Art Appreciation expose learners to intellectual competencies
such as critical, analytical, creative thinking, and multiple forms of expression.
III. Materials
Read and understand the details provided in Module 4
Artworks are steaming with inspiration. Choose one artwork from any of
the movements discussed for you to appropriate. Follow the steps below
to accomplish this task:
1. Choose 1 artwork from any of the movements discussed in the module.
2. Understand the narrative or story behind the artwork to correctly appropriate it.
3. Using the concept of borrowing, recreate the artwork through a photo.
4. The photo appropriation must include you as the subject. Use the samples in the
module as guide. The title must also be appropriated.
5. Place the source/inspiration beside your photo appropriation. Type
the movement below your source/inspiration.
6. Submit the task as PDF or JPEG
V. Evaluation Tool
CATEGORY 10 8 6 4 Sco
re
Resemblance The artwork The artwork The artwork The artwork

has a very has a has a has no
close resemb close resemb bleak resem resemblan
lance to the lance to the blance ce at all to
original. original. to the the
original. original.
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Creativity Student Student has Student Student has

has taken taken the has copied not made
the techniqu technique b some paintin much atte
e eing g from the mpt
being studied and source mater to meet
studied and has ial. There is the require
applied it in used source little ments
a way that material as a evidence of of the
is totally starting creativity, assignment
his/her own. place. but the .
The student\' The student\ student has
s 's done the
personality personality assignment.
comes comes
through. through in
parts of
the painting.
Design/Comp Student Student Student tries The

osition applies desig applies desi to apply student do
n gn design es
principles principles principles not appear
(such as (such as (such as to be able
unity, contra unity, contra unity, contras to
st, st, t, apply most
balance, balance, balance, design prin
movement, movement, movement, ciples to
direction, direction, direction, his/her
emphasis, emphasis, emphasis, own work.
and center and center and center
of interest) of interest) of interest)
with great with fair skill. but the
skill. overall result
is not
pleasing.
FINALS
TASK 1
Artist Study and/or Artisan Study
I. Output
You are bound to create a synthesis of an artist’s or an artisan’s biography, artworks,

style, techniques, inspirations, preferences, and other aspects that influence his or
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her craft. In this activity, you will delve into an artist’s or artisan’s colorful world and
be able to introduce and promote the artist or artisan to anyone with much
confidence and familiarity by preparing an Artist Study or Artisan Study.
II. Rationale
CHED CMO-No.20-s2013 presents the goals of Higher Education. Section 1 of the

Memorandum Order states that, in a global community, Filipino students recognize and
respect the fundamental humanity of all, respect and appreciate diversity, and care about
the problems that affect the world.
Through the Artist Study task, the learner will be able to recognize unique Filipino artistry and
the possible problems that affect his/her industry. It is the goal of this task that local artists
and artisans gain the recognition they deserve for their contribution to cultivation and
preservation of Filipino culture and tradition.
VI. Materials
To be able to look into the differences between the world of an artist and an artisan, please
refer to your module.
VII. Specific Guidelines
After reading Module 5 and the aforementioned materials, you may take the
teacher prepared quiz.
TASK 2
Interpretation of Textile art Through a Scarf Design
I. Output
As a way to manifest the learning outcome of this unit, you are asked to create your
own interpretation of the different textile art from the various regions by designing a scarf.
II. Rationale
Textiles are reflections of the traditions, ways of life, resourcefulness, and worldview of
the people weaving and wearing them in usually-vibrant and harmonious colors of their
immediate environment. Therefore, studying textiles exposes one to the richness and
aspirations of our cultures.
III. Materials
You may refer to your module for the various textile designs, patterns and colors.
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IV. Specific Guidelines:
1. Follow the principles of art as discussed in previous lessons.
2. The examples of textile art provided in your module will be your inspiration in choosing
your own design.
3. Use 3 designs/patterns (examples: cross, lizard, mountain, etc.) from the given
examples in the module and add 1 or 2 patterns of your own.
4. You may adjust the size of the scarf given in the module into a larger one but not
smaller than what was given, if you wish to. As an alternative to the scarf, you can
design a face mask, shawl, carpet, or table runner.
5. Use a short bond paper for your output.
6. Send your output as PDF or JPEG.
V. Evaluation Tool
Your output will be scored using the following rubric.

Indicators and Rating
Drawings are Drawings are Drawings are Drawn objects are
recognizable, recognizable and recognizable and difficult to
detailed and colored reasonably recognize AND/OR
colored accurately. Overall, accurate. They are not accurate.
accurately. Overall, the drawings are copied, printed or
the drawings are original and done traced rather than
Drawings
original and skillful. with some skill. original.

6 points
15 points 12 points 9 points
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Use of positive and Use of positive The artwork seems The artwork seems
negative space space is good and to have a little too unfinished (too
creates a feeling the painting is much background much empty
appropriate to the relatively or seems a little too space) or there is
Balance and Use of Space
theme. Objects are balanced, but busy. Balance has not enough
placed for best negative space not been balance between
effect. Overall, it could be utilized achieved. foreground and
just feels right. better to create a background
more cohesive feel. causing it to seem
much too busy and
10 points unfocused.
8 points 6 points
4 points
The artwork has The artwork has The artwork has The artwork looks
been crafted with been crafted with been completed, hastily thrown
great care. The some care. Most but it appears a together or like it
lines are sharp, lines are sharp, little messy. was wadded up in
colors clear, cutting colors clear, cutting Smudges, drips, a desk. It seems
tears or erasures
crisp, and text crisp, and text quite messy.
detract from the
aligned. No aligned. Smudges, overall
smudges, drips, drips, tears or appearance.
Craftsmanship
tears or erasures are erasures are few

seen. and do not detract. 9 points
6 points
12 points
15 points
TOTAL POINTS: __________/40 points
INTEGRATED FINAL ACTIVITY
Impromptu Video “Silent” Performance

(OBJECT IMPROVISATION)
II. Output
Art is all about expression and beauty, and beauty is everywhere. For this task, you
are to fully embrace what artistic expression is all about. This evaluative task will
offer you myriad opportunities for imaginative expression by incorporating art in
your everyday or seemingly mundane tasks with little to no preparation.
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VIII. Rationale
Studying music is not simply the study of notes, composers, or compositions; it

certainly involves the emotive aspect that has immensely shaped instrumental
music regardless of form. Early forms of music as claimed by Barras (2020), were
expressions of various forms. Communicating to a divinity, with other humans or
with creatures since the early stages of man’s life requires some form of musicality.
As man continued on to focus on improvement, so did music.
David Hall (2019) strongly contends that “interpreting music is an exercise that
really pushes you to hone multiple musicality skills at once – it can encompass
active listening, sight reading, sight singing, transcription, and even composition.”
He adds that to interpret music, you must first re-imagine a piece of music
completely by allowing your interests, style, or preference to be of influence.
Second, you must realize the composer’s intention by understanding the milieu by
which the piece was created. Finally, interpretation necessitates personal
enjoyment; hence, you must shape your own rendition with much ease and
confidence.
This lesson on instrumental music, transcreation, and improvisation is in compliance

with CHED CMO-No.20-s2013 that states that regardless of the learner’s major,
General Education courses including Art Appreciation exposes learners to
intellectual competencies such as critical, analytical, and creative thinking, and
multiple forms of expression.
IX. Materials
Read and understand the details provided in Module 5. If you have stable and
reliable internet connection, you might want to access some online materials that
will enhance your understanding of Instrumental Music. You may access these
materials in Module 5, Evaluate folder on your OTG.
X. Specific Guidelines
Listen to Antonio Vivaldi’s Storm and create a 1-minute to 1½ -minute impromptu

performance. For the online learners you may visit this link:
https://www.youtube.com/watch?v=NqAOGduIFbg.
M
Task 5 serves as the FINAL REQUIREMENT of the course. To accomplish this task, find
a space where you can move freely and follow the steps below:
1. Pick an object that you can see inside your house. Make sure that this object is
something that you can hold and lift.
2. Play Antonio Vivaldi’s Storm as your background music for the performance.
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3. Take a video of yourself while doing the following:
a. Like a mime, act out the chosen object by not using it in its original form (e.g.
a tripod used as a binocular, cellphone as a soap, etc.). The development on
how the material will be used should be established. In other words, make a
story out of it. Do not directly expose how you wish to interpret/portray the use
of the object.
b. Your actions must be congruent with the rhythm of the song.
c. Think of two other interpretations and consider instructions a and b. Make sure
that you have three different interpretations/stories as the music plays.
d. Transitions must be smooth in between interpretations/stories.
4. Do not rearrange the musical piece.

5. This task is likened to a silent film; hence, your video does not need any caption or
verbal audio from you. The only sound that must be heard is Vivaldi’s Storm. Your facial
expressions and movements must imply the emotions and the story.
6. Save your video in MP4 format and submit it to the Google classroom.
Submission Requirement:
For OBL: Send your file to the Google Classroom or Save your requirement in Google Drive
and provide the access link, or upload your video on Youtube then submit the link to the
Assignment Bin.
Please refer to Google classroom for submission date and time. Always check Google
classroom stream and classwork to keep yourself updated with the deadline of tasks.
XI. Evaluation Tool

Your work will be evaluated using the criteria below:
Criteria
1. Ingenuity (20)
Able to exhibit creativity by thinking unconventionally. Choice of object was not the
usual. Student was able to think outside the box. Student was able to maximize
available options. Story was well-established and thoroughly conceptualized.
2. Content (20)
Story was cohesive. Portrayal of the story was clear. Content met the objective of the
activity.
3. Expressions (20)
Movements, gestures, and facial expressions were well-timed and definite. The
student showed animation and enthusiasm.
4. Technical (10)
Quality of audio and video is good.
TOTAL: 70
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GART
COURSE LEARNING OUTCOMES
At the end of the module, you should

be able to:
demonstrate knowledge and
appreciation of arts in general,
including their content, function,
value, ad historical significance;
analyze local and global works of
art based on aesthetic value, cultural
context, and socio-political
relevance;
create your own artworks to
enhance your self-awareness and
creativity;
Images by Analyn A. Caroy, Milanie Dalingay, and Marinel
L. Piamonte via Facebook present a creative production
applying the principles of performing
arts; and
deepen your identity through art
with respect to your nationality,
ART APPRECIATION culture, and religion.
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“Treat a work of art like a prince: let it

speak to you first.”
Arthur Schopenhauer
COURSE INTRODUCTION
Art appreciation is a three-unit course which introduces and exposes the students to
the creative output of humanity both in theory and practice. It aims to enhance the
students’ awareness and sensitivity to the state of arts and culture in general and Philippine
arts in particular. The course also develops students’ competency in researching about
and analyzing various art works in different modalities. The course is a study of the general
art forms which may include but not limited to visual, literary and performing arts.
**All images and compiled notes belong to their rightful owners.

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TABLE OF CONTENTS
MODULE 1 INTRODUCTION AND OVERVIEW OF ART

Unit 1: Definition of Art Appreciation and Key Concepts on Art
Unit 2: Functions of Art
Unit 3: Subject in Art
MODULE 2 ELEMENTS AND PRINCIPLES OF ART
MODULE 3 CONTENT IN ART
MODULE 4 ART MOVEMENTS AND HISTORY
MODULE 5 THE MIND AND WORK OF AN ARTIST
MODULE 6 TEXTILE AND EMBEDDED CULTURE
MODULE 7 VARIOUS ART EXPRESSIONS
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MODULE 1
Introduction and Overview of Art

This module would introduce you to the concept of what is considered art, and how
to appreciate art. It would also explain the assumptions of art and its functions. It would
also let you explore the world of your local artists and artisans.
Unit 1
Art and Art Appreciation
Topic Learning Outcomes

1. Explain the concept of art appreciation and the nature of art;
2. Evaluate assumptions of art; and
3. Critique an article on the difference of art and Art
Before you look into the concepts of art, take this short quiz.
Which of the following do you consider as art? Explain your
answer.
a. Chair b. Well-done steak

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http://e-
fellowship.blogspot.com/2012/07/the-
importance-of-signs.html https://www.pri.org/stories/2015-11-
05/colonizers-exploiters-art-portrays-
how-people-responded
b. road signs d. Mural

_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
_________________________________________________________________________________
____________________________________________________________________________
Which of the following do you not consider a kind of art? Explain your answer.
a. Storytelling
b. Chirping of the birds
c. Hanging and folding of clothes
d. Mountains and other natural landscapes
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
______________________________________________
Definition of Art
Art, since time immemorial, is man’s concrete product of his

innermost thoughts, feelings, observations, desires, needs, and
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fancy. Regardless of culture, milieu, and space, art continues to expand linking the past,
the present and the future.
But what is art?
Perhaps this simple question has baffled every civilization and culture. Due to the
vastness of art, several definitions of it have developed out of individual perceptions,
feelings, and beliefs. The following are some definitions:
1. “We have our Arts so we won’t die of Truth.” Friedrich Nietzsche, made famous
all over again by Ray Bradbury in Zen in the Art of Writing
2. “Art is an imitation of an imitation” Plato, philosopher
3. "Art is either plagiarism or revolution." Paul Gauguin, painter
4. "Art is the signature of civilizations." Jean Sibelius, composer
5. "Art is a lie that makes us realize truth, at least the truth that is given us to
understand." Pablo Picasso, painter
6. “The role of art as a creative work is to depict the world in a completely different
light and perspective.” Jean Sartre, philosopher
Art is an ever-expanding form. Trying to encapsulate all great ideas pertaining to

what art is into one single definition poses a vexing challenge.
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Traditional categories within the arts
Source: Encyclopaedia Britannica

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Art Appreciation
Because of our varied tastes, the way we perceive and appreciate art differs at
certain levels. Ariola (2008) defines Art Appreciation as the ability to interpret and
understand man-made arts and enjoy them either through actual work-experience with
varied tools and materials for one’s admiration and satisfaction.
Creativity
Creativity is the act of turning new and imaginative ideas into reality. Creativity is
characterized by the ability to perceive the world in new ways, to find hidden patterns, to
make connections between seemingly unrelated phenomena, and to generate solutions.
Creativity involves two processes: thinking, then producing.
Rollo May (1975) states that creativity is the process of bringing something new into
being. Creativity requires passion and commitment. It brings to our awareness what was
previously hidden and points to new life. The experience is one of heightened
consciousness: ecstasy.
Imagination
Anne Sheppard(1991) argues that imagination plays an important part in our
understanding of representational art, claiming that imagination is what enables us to see
a picture as a representation of something in the real world. IN addition, she claims that
imagination plays a part in our response to the expression of emotion in art such as joy,
sadness, and grief.
Expression
In his article The Expression Theory of Art: A Critical Evaluation, Haig Khatchadourian
(Spring, 1965), explains that expression may be any kind of conscious experience-
intellectual, imaginative, or emotional. What an artist expresses is the subconscious
experiences, his conceptions of or reactions to various qualities or aspects of society in
which he lives or works, and/or the world around him.
Now that you have learned about the basic concepts of art,
you are now ready to look into the various assumptions of art
listed below. Study them carefully.
1. Art is universal.
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Art has always been timeless and universal, spanning generations and continents
through and through. Most, if not all, people can relate
An art is not good because it is old, but old because it is good” (Dudley et al., 1960).
The following are some examples of what we call “oldie but goodie”:
● Iliad and Odyssey of Homer
● Works of Jose Rizal
● Ibong Adarna of José de la Cruz
● Florante at Laura of Francisco Balagtas
● Psalms
2. Art is not nature

The word “Art” comes from the Aryan root word “AR” which means to join or to put
together; Latin terms artem (nominative ars) "work of art; practical skill; a business, craft,",
and ars means “everything that is artificially made or composed by man.”
In other words, Art is man’s expression of his reception of nature. Art is man’s way of
interpreting nature. And as Plato states in Unit 1, “Art is an imitation of an imitation.”
Now, go back to your answers in Engage part of this unit. From the
pictures given, what do you consider as art? Why?
3. Art is cultural
Since time in memoriam, art and culture go hand in hand, with one influencing the
other. According to John Nieto, one of America’s most dynamic contemporary artist,
“Art and culture at their very core serve as some of the most significant, dynamic,
participation, and social influences of human behavior and interaction. When put
together, they have the ability to generate empathy, stir up dialogue, induce
reflection and charter new relationships and ideas” (2017).
It can be observed that art and culture serve as part of the basis for shaping the
values people have, some of which include:
● A sense of community or ● Equality
belonging ● Unity
● Affiliation ● Nature
● Self-acceptance ● Freedom
● Creativity
● Self-respect
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It can also be observed that some nations have similar, but not exactly the
same, culture. For example, the Maoris of New Zealand have their Tā moko while the
Kalingas have Pambabatok, both are tattooing culture or traditions, but the difference
is Tā moko is often on the face. Kalingas have this also but it is very rare. Other nations
also have this face tattoo culture. For more information, read the articles Tā moko |
Māori tattoos: history, practice, and meanings (https://www.tepapa.govt.nz/discover-
collections/read-watch-play/maori/ta-moko-maori-tattoos-history), and A tattooing
technique of the Butbut Tribe in the Philippines (https://www.unesco-
ichcap.org/pambabatok-a-tattooing-technique-of-the-butbut-tribe-in-the-philippines/).
For other tattoo cultures, you can read Lars Krutak: Tattoo Anthropologist
(https://www.larskrutak.com/). For CBL students, check Module 1 folder, Lars Krutak,
Pambabatok, and Tamoko file names.
In popular culture, or pop culture, it can be seen that culture of a nation is

embedded in art, and differences and similarities of each nation are seen. An example
of this Pol Medina’s Pugad Baboy and American TV show Family Guy.
Photo Credit: via mikeinel.deviantart

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4. Art involves experience

Artists, most of the time, would like to immortalize the memory they have, or
maybe the emotions they felt during a certain episode of their life. It could the exact
image of a person or a place, or other cases, a symbol of the experience they have. It
could also be something that symbolizes the history of one country. One example of
these artworks is BenCab’s Homage to Sabel 9. It was said that Sabel was a street
person aka taong grasa found by Bencab in Tondo. She became the muse of many of
his art pieces, which are exhibited in his art museum, and some of the museum goers
would think that Sabel embodies what life hardships can do to a person
BenCab’s Homage to Sabel 9, BenCab Museum
This is not exclusive to graphic and plastic arts. This is also applicable to
performing arts, e.g. music, dance, theatre, and so on, and to literature, e.g. poetry,
fiction, etc., as well. Unlike fields of knowledge that involve data, art is known by
experiencing. A work of art then cannot be abstracted from actual doing. In order to
know what an artwork is, we have to sense it, see or hear it, and see and hear it.
5. Art as an expression
Art, as most believe, is a form of expression, and most of the time expression of
feelings of a person or a collective group of people. It can also be said that art is an
expression of a person’s desires, thoughts, and intuitions.
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In Tolstoy’s view, art is the communication of feelings from artist to viewer through
certain external signs; artist are people inspired by emotional experiences use their skill
with words, paint, music, movement, etc., to embody their emotions in a work of art
with a view to stimulating the same emotion in an audience.
In the previous assumption (Art involves experience) an example given was of

graphic arts. In this assumption, one example is music. Music also expresses the tone of
the scene in a play, and/or movie. Upbeat tempo suggests a happy scene while slow
tempo suggests longing or loneliness. A sudden loud volume can produce excitement
or fear, which depends on the genre of what is being shown. As for songs, in the late
1970s up to 1980s, the songs of Asin, a Filipino pop/rock band are often interpreted by
the listeners as songs that depict the emotions of the Filipinos during the Marcos
Regime.
Another example of art as expression is dance. In a dance, particularly

traditional dance, every step and movement of the hands, and even the clothes the
dancers wear, has a special meaning. It shows their culture, the hardships they have
been through and still going through. Dance also serves as prayer to their gods. One
event where people can witness this is during the Powwow of the Native Americans in
the US. Powwow, the English version of the term pau-wau, is originally stood for a
healing ceremony conducted by the spiritual or religious leaders of various tribes. Now,
a Native American powwow came to mean a meeting between Native Americans
and non-Native Americans which would include dancing, singing, and socializing. A
powwow can last for hours, days, or even a week long, particularly for major powwows.
In powwows, Native Americans of all ages can take part. Each dancer has his or
her unique regalia. The regalia of the dancer can have similarities with the other
dancers, but it can be observed they are not exactly the same. Before, women were
not allowed, but now they are now part of the traditional powwows. Also, if the
Cordilleran gongs are the center of the cañao, the Native American powwow drum is
the heart of the Indian Tribal culture.
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Photo Source: indians.org
Photo Source: Ohio State University Photo caption: Salinas Family Aztec
Dancers
Art involves the concepts of imagination, creativity and

beauty. Each culture has their standards of what beauty is.
Watch the video “African Body Modification”
*(https://www.youtube.com/watch?v=wwOXCmjTsvs –
(Check activity 1file name, Module 1 folder in your flash
drive).Then, answer the following questions:
a. What art assumptions are expressed in the different body modifications in Africa?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
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______________________________________________________________________________
_______________________________________________________________
b. What makes these body modifications beautiful?

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
_______________
Reading Activity:
Reading Task: In preparation for Task 1 in Unit 2, read this
article of Isagani Cruz about the art installation of Mideo
Cruz entitled, “Poleteismo”. As you read it, reflect on the
following questions:
1. According to the article, what is the difference between art and Art?
2. What is good art and bad art?
3. Think of an example of art and Art.
If you are interested to know more about the key terms in art, you may read the
following online articles:
1. What are the health benefits of being creative? From

https://www.medicalnewstoday.com/articles/320947
2. The Fear Of Art: Contemporary Art Censorship
from https://magazine.artland.com/the-fear-of-artcontemporary-art-censorship//
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http://www.deansterf.com/2011/09/mideo-cruzs-poleteismo-art-or-
not.html?m=1&fbclid=IwAR3yrazZsO8vec80QNz7brbIowakRH1xhPlWwDadle_HTD
ncr_ExZRr6Tag
Poleteismo is art, not Art

MINI CRITIQUE - Isagani Cruz (The Philippine Star) - September 15, 2011 - 12:00am
This is the last of my series of columns on the controversy that surrounded Mideo
Cruz’s “Poleteismo.”
There is no question in my mind that the work, as a creative work, is protected by
the freedom of expression provision of the Constitution. It was wrong of the CCP to defy
the Constitution by stopping its display.
There is no question in my mind that the CCP should not have exhibited it in the
first place. There are literally hundreds of creative pieces that CCP could have
exhibited; to choose this particular one betrayed a lack of discretion and foresight on
the part of the CCP board.
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There is no question in my mind that, if we use the generic definition of art, it is

art. It was exhibited in an art gallery (two, in fact, if we count the earlier version in the
Vargas Museum) and art critics say that it is art.
There is no question in my mind that, if we use the evaluative definition of art, it is
not art. This is the statement that I want to elaborate on today.
Let me use Venn diagrams. There is a huge set of things that may be labelled
expressions. This set contains the set of creative expressions we are talking about. But it
also contains other sets, such as the sets of graffiti, libelous statements in a newspaper,
slander, and the common example of someone shouting “fire” in a crowded movie
theater. These other sets are not creative expressions; they are merely expressions. They
are not the kind of creative expressions protected by the Constitution.
Inside the set of creative expressions protected by the Constitution is the set of
things exhibited in an art gallery. Everything in an art gallery is art in the generic sense of
the word. But not everything in an art gallery is art in the evaluative sense of the word.
Take the Louvre. Not everything there is art. Many pieces are merely old. Some of
the portraits are there because the persons being portrayed happen to be of some
importance in history, but the portraits themselves do not satisfy any of the formal
criteria for real art.
Take something closer to home. Take a walk on the fourth floor (called the Art
Walk) of SM Megamall and look at the things being sold in the art galleries there. There
are some really good artistic works there, but there are clearly a lot more that should
never have been imposed on the public.
There are many objective criteria for saying that something is art. If there were
none, the judges at the annual Shell National Students Art Competition, not to mention
the annual Palanca Awards, would never agree on winners, but they often do —
unanimously. The saying that art or taste is purely subjective is simply not true.
One of these objective criteria is the ability of art to ennoble. I do not mean that
one should suddenly kneel down and pray upon seeing a work of art that deals with
religion. No tourist has suddenly become born again by staring at the Sistine Chapel
ceiling (I could be wrong).
What I mean is that, after stimulating or provoking or even incensing us, a work of
art should make us better persons. Clearly, “Poleteismo” did not do that. In fact, it did
the opposite. It made us worse persons.
The proof stares us in the face. Suddenly, some Catholics became terrorists,
threatening the CCP board members with bodily harm, trying to commit arson,
behaving like devils rather than saints, forgetting all about the command of Jesus to
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“Put your sword away!” (John 18:11). Goodness, even bishops forgot to set the example
of being like Jesus, who preached love and not hatred!
If Mideo Cruz intended to make better Catholics of Catholics — to make them
distinguish between illusion and reality, between the image of Jesus and the real Jesus,
between a mere drawing of His face and His real face, between worshipping Jesus and
not the puny human representations of Him — then he failed miserably.
Instead of ennobling some Catholics, “Poleteismo” made them commit one of
the deadly sins — anger. It made them receive Holy Communion with hatred in their
hearts — the sin of sacrilege. It made them judge and therefore made them liable to
be judged. It made them throw the first stone even if — let us not be hypocritical — no
human beings except Jesus and His mother Mary were born without sin.
There is provoking and there is provoking. The kind of provoking that Mideo Cruz
did was not justified by the creative piece that he did. Critics always say that an artist
should “earn” the effect of his or her work. That means that there should be a
deliberate, successful effort by the artist to achieve whatever it is she or he wants to
achieve. No art piece can be conceived simply on the spur of the moment. Every art
piece that aspires to be art is always the product of long, careful, profound hard work.
Therefore, based on the reception of the work, “Poleteismo” flunked the test of
good art. It may be art, but it is bad art. It may be art, but it is not Art.
References
Cruz, I. (2011, September 15). Poleteismo is art, not Art. Retrieved from
https://www.philstar.com/other-sections/education-and-
home/2011/09/15/726967/poleteismo-art-not-art
The Editors of Encyclopaedia Britannica. (2018, February 15). The arts. Retrieved from
https://www.britannica.com/topic/the-arts
Damian, V. (2019, March31). Cordillera faces on Baguio walls. Retrieved from
https://newsinfo.inquirer.net/1101552/cordillera-faces-on-baguio-walls
FreeVector.com (2020). Traffic signs. Retrieved from
https://www.freevector.com/traffic-signs
http://indians.org/articles/article-images/native-american-pow-wow.jpg
https://www.tripsavvy.com/things-to-do-in-bohol-philippines-1629748
https://www.livescience.com/difference-between-race-ethnicity.html
http://www2.hawaii.edu/~freeman/courses/phil330/21.%20Art%20as%20Expression.pdf
https://www.keystone.edu/wp-content/uploads/2018/11/Salinas-Family-Aztec-
Dancers.jpg
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https://www.larskrutak.com/the-last-kalinga-tattoo-artist-of-the-
philippines/#prettyPhoto
https://www.unesco-ichcap.org/pambabatok-a-tattooing-technique-of-the-butbut-
tribe-in-the-philippines/
https://www.tepapa.govt.nz/discover-collections/read-watch-play/maori/ta-moko-
maori-tattoos-history
http://blog.nietofineart.com/relationship-between-art-and-culture/
https://www.machupicchu.org/machu_picchu_travel_tourist_information.htm
https://u.osu.edu/culturalimmersion2018/native-nations/
http://loneopiniontheblog.blogspot.com/2011/09/fantasy-match-up-family-guy-
versus.html
http://www.ruelpositive.com/art-introduction-assumption
http://bencablife.blogspot.com/2014/03/different-versions-of-sabel-favorite.html
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Unit 2
Functions of Art and Soul and Space
Have you ever wondered about what reasons artists have for creating art works?
Artists create art in order to communicate visually and conceptually.
To understand the meaning of a work of art, you must do more than simply look at
it with your eyes. In order to experience art fully, you must develop the ability to perceive.
To perceive is to become deeply aware through the senses of the special nature of a
visual object. A perception is a sensation to which you attach a meaning.
Topic Learning Outcomes:

1. Determine the functions of art
2. Determine how one utilizes space
If things serve specific purpose, what do you think is the

purpose or function of the Paleolithic stone sculpture
below?
Image from http://www.talariaenterprises.com/faces-and-shapes-of-ancient-mother-goddesses/
Venus of Willendorf. On display in Hall 11 of the Natural History Museum, Vienna, dedicated to the Stone Age in Central
Europe
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Works of art were and are created to serve a specific

function. Houses are built to shelter people from the harsh
effects of the weather. In the Cordilleras, the gong or gangsa
is used primarily to create a certain beat harmoniously in
accord with the other cultural instruments. Each work we see
and come across with was created by specific individuals or
groups regardless of the period they belong.
Venus of Willendorf, a prehistoric sculpture symbolizes the nurturing and support

that mother-hood creates. She is fat, showing her abundant life-energy. This sculpture of
a so-called Venus–because of her exaggerated breasts and hips–was probably used as
a fertility fetish. Fertility and hunting were essential components of survival during the
nomadic, Paleolithic era.
Within art, there exist purposes referred to as functions for which a piece of art may
be designed, but no art can be "assigned" a function—either in scholarly studies or casual
conversation—outside of the proper context. Art forms exist within very specific contexts
that must be considered when classifying them. Whether a particular piece of art has
existed for centuries or has yet to be created, it is functional in some way—all art exists
for a reason and these reasons make up the functions of art.
Functions of Art
1. Personal Function
While it is true that an artwork is an artist’s expression, its impact may be individualized
and personal; hence, artists create art to express personal feelings.
The personal functions of art are often the most difficult

to explain. There are many types of personal functions
and these are highly subjective. Personal functions of
art are not likely to be the same from person to person.
An artist may create a piece out of a need for self-
expression or gratification. They might also or instead
want to communicate a thought or point to the
viewer. Sometimes an artist is only trying to provide an
aesthetic experience, both for self and viewers. A
piece might be meant to entertain, provoke, thought,
or even have no effect at all.
Personal function is vague for a reason. From artist to
artist and viewer to viewer, one's experience with art is
Credit to Kyle Phoenix, 2019
Page 44 of 159
different. Knowing the background and behaviors of an artist helps when interpreting the
personal function of their pieces.
2. Social Function
Feldman(1967) states that art performs a social function when it influences the
collective behavior of people. It is created to be seen and experienced by the public,
and when it expresses a collective feeling rather than an individual one. These
characteristics lead to global understanding and peace.
Artists may produce art to reinforce and enhance the shared sense of identity of
those in a family, community, or civilizations (family portraits, uniforms for bands,
celebration floats, costumes, etc.) Additionally, satire performs social functions. Spanish
painter Francisco Goya (1746–1828) and English portrait artist William Hogarth (1697–1764)
both went this route with varying degrees of success at motivating social change with
their art. Sometimes the possession of specific pieces of art in a community can elevate
that community's status.
Comprador depicts two politicians in suits at the top of the composition with
money passing through their outstretched hands. The politicians, one from the Philippines
and the other from the United States, stand on the backs of the workers profiting from
their labor.
∙ They laugh as a group of Filipino workers

toils below, their struggle represented by
bold, angular lines, a restrained color
palette, and a strong diagonal pull
across the composition.
∙ A large green dollar sign is located in the
upper right corner, affirming that the
politicians are only interested in money.
Pablo Baens Santos, Comprador, 1978,

Oil on canvas, NAGM, Manila
https://medium.com/@rafhaelpiola/some-of-the-finest-work-of-art-made-by-filipinos-
9f8d1130cf05
3. Spiritual Function
The statues of saints, Jesus, and Mary were all created to enhance one’s spiritual
connection. Through these works, man feels connected with the Higher Being.
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Artists may create art to express spiritual beliefs about the destiny of life controlled by the
force of a higher power. Art produced for this purpose may reinforce the shared beliefs
of an individual or a human community.
The term Pietà finds its roots in the Italian
word for “pity” and the Latin word for
“piety.” Heartrending, this composition
depicts the Virgin Mary cradling the dead
body of her son Jesus in her loving arms.
The Pieta is a work of Renaissance

sculpture housed in St. Peter’s Basilica,
Vatican City. The statue was
commissioned for the French Cardinal
Jeane De Vilheres who was a
representative in Rome.
https://www.mentalfloss.com/article/63602/15-
things-you-should-know-about-michelangelos-pieta
Arnel David Garcia’s highly provocative two-

dimensional work (its width is three inches!)
presents a myriad of faces of the Christ figure—
from the ikonic images that have come down
to us from ancient times (Byzantine, Medieval
Gothic, classical Renaissance)—and melded
with images of unmistakable Filipino features—
the brown color, the squat nose, the noose-like
lips.
But the “Faces” hover around the central details

of Christ’s Passion and Sacrifice—the wounded
hands and the nails of the Crucifixion.
Amid the Easter exhilaration, the message is

quite provocative: The Resurrection of Christ
transitions humanity to salvation. God
Incarnate means universal elevation and
redemption.
Faces of Christ, Arnel David Garcia, Mixed Media, 20x16 in
4. Cultural Function Art

Page 46 of 159
Cultural footprints can reveal much about the culture in which it is created. Some cultural
practices such as dances and body tattoo have been passed on to preserve not only
the art but also the culture.
The appearance of ceramic artifacts
https://www.auctionzip.com/auction-lot/Two-
generally coincides with the advent of a
20-Antique-Southern-Chinese-Brown-Clay-
sedentary lifestyle that revolved around
agriculture rather than a nomadic lifestyle.
Some experts believe that pottery was
discovered by accident when woven
baskets were covered with mud to make
Jars._4614216B32/
them watertight. When the basket was put
Image Source:
over the fire for cooking, the clay

hardened.
Our forefathers once used tattoos to express themselves; their bodies were the canvas,
and the tattoos were their art. In particular, ethnic groups have been performing this
practice for centuries to mark their social status or accomplishments in the community,
or as a symbol of beauty among women. In fact, the Spanish explorers first recorded
natives covered in tattoos upon disembarking into one of the islands during the 16th
century. The ancient Visayans, as well as the highland tribes of northern Luzon or
Cordillerans, are known for their intricate art of tattooing.
In the olden days, tattoos (batuk in Visayan) were

thought to be widespread in the island. The Spaniards
fought against the fierce Visayan warriors, whom they
called pintados because most of their bodies were
covered in elaborate tattoos intended to intimidate the
rivals. The markings gradually increase in number
depending on the number of battles one has had.
Facial tattoos are reserved only for the most valiant and
strongest warriors. At present, the ancient tattooing
tradition of the Visayans and their warriors’ courage are
celebrated annually during the Pintados Festival.
https://originalchicano.com/hair_rm.php
5. Utilitarian Function or Physical Function of Art
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Some forms of art were and are created to be used. These works make man’s life more
comfortable. Artist and crafts people constantly invent new ways to create functional
art. Industrial designers discover new materials that make cars lighter and stronger
(jewelry, building materials, cars, etc.)
The utilitarianism in modern architecture

rejects bourgeois details such as over-
abundant decorative details in cornices
and eaves. Utilitarianism honors the
functionality of the building and space
rather than the grandeur of ornamental
purpose. The roots of utilitarian thinking in
21st century architecture could be traced
back to the establishment of Bauhaus
School by pioneer modern architect Walter
Gropius in 1919, Germany.
https://medium.com/@xm335/utilitarianism-in-21st-
century-modern-architecture-a90906e6a18c
Everyday part of commuters in the Philippines
is to ride jeepneys, the main public
transportation in the country. These colorful
rides have one of the most bizarre art and
color combination, which seems to paint the
busy streets.
A product of the post-World War II era, surplus

jeeps were left to the Filipinos by American
troops who stayed in the Philippines. Filipinos
took advantage of these leftovers and made
the most out of it. With a new extended body,
the remodeled jeeps became jeepneys. This
made way for inexpensive mass
transportation and more importantly, a part of
Philippine culture.
https://www.pinterest.ph/pin/315463148875023836/
There are other purposes or functions of art.
They are not limited to the ones presented to
you earlier because there are many more identifiable functions of art in man’s life. To
label them as the ones discussed earlier is limiting what the arts can contribute to the
world.
Page 48 of 159
Art has had a great number of different functions throughout its history, making its
purpose difficult to abstract or quantify to any single concept. This does not imply that
the purpose of art is “vague” but that it has had many unique, different reasons for being
created. Some of the functions of art are provided in the outline below. The different
purposes of art may be grouped according to those that are non-motivated and those
that are motivated (Lévi-Strauss).
Non-motivated Functions of Art

The non-motivated purposes of art are those that are integral to being human, transcend
the individual, or do not fulfill a specific external purpose. In this sense, art, as creativity, is
something humans must do by their very nature (i.e., no other species creates art), and
is therefore beyond utility.
1. Basic human instinct for harmony, balance, rhythm. Art at

this level is not an action or an object, but an internal
appreciation of balance and harmony (beauty), and
therefore an aspect of being human beyond utility.
Ashanti Kente Cloth featured in "Measure of

Earth: Textiles and Territory in West Africa"
opening at the African American Cultural Center
Gallery (Sept 19 - Dec 18, 2013) | Gregg Museum
of Art & Design | https://www.pinterest.ph/pin/544161567446827669/
2. Experience of the mysterious. Art provides a way to experience one’s self in relation
to the universe. This experience may often come unmotivated, as one appreciates
art, music or poetry.
‘The most beautiful thing we can experience is the mysterious. It is the source of
all true art and science. ‘—Albert Einstein
3. Expression of the imagination. Art provides a means to express the imagination in non
-grammatic ways that are not tied to the formality of spoken or written language. Unlike
words, which come in sequences and each of which have a definite meaning, art
provides a range of forms, symbols and ideas with meanings that are malleable.
Page 49 of 159
“Jupiter’s eagle [as an example of art] is not, like

logical (aesthetic) attributes of an object, the
concept of the sublimity and majesty of creation, but
rather something else – something that gives the
imagination an incentive to spread its flight over a
whole host of kindred representations that provoke
more thought than admits of expression in a concept
determined by words. They furnish an aesthetic idea,
which serves the above rational idea as a substitute
for logical presentation, but with the proper function,
however, of animating the mind by opening out for it
a prospect into a field of kindred representations
Ganymede with Jupiter’s Eagle, Bertel
stretching beyond its ken. “—Immanuel Kant Thorvaldsen, 1817
https://artsandculture.google.com/asset/ganyme
de-with-jupiter-s-eagle/owEgDKCDQEhlWg
4. Ritualistic and symbolic functions. In many
cultures, art is used in rituals, performances and dances as a decoration or symbol.
While these often have no specific utilitarian (motivated) purpose, anthropologists know
that they often serve a purpose at the level of meaning within a particular culture. This
meaning is not furnished by any one individual, but is often the result of many
generations of change, and of a cosmological relationship within the culture.
Motivated Functions of Art
Motivated purposes of art refer to intentional, conscious actions on the part of the artists
or creator. These may be to bring about political change, to comment on an aspect of
society, to convey a specific emotion or mood, to address personal psychology, to
illustrate another discipline, to (with commercial arts) to sell a product, or simply as a
form of communication.
1. Communication.
Art, at its simplest, is a form of communication. As most forms of communication
have an intent or goal directed toward another individual, this is a motivated purpose.
Illustrative arts, such as scientific illustration, are a form of art as communication. Maps
are another example. However, the content need not be scientific. Emotions, moods
and feelings are also communicated through art.
2. Art as entertainment.
Art may seek to bring about a particular emotion or mood, for the purpose of
relaxing or entertaining the viewer. This is often the function of the art industries of
Motion Pictures and Video Games.
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3. The Avante-Garde. Art for political change.

One of the defining functions of early twentieth-century art has been to use
visual images to bring about political change. Art movements that had this goal—
Dadaism, Surrealism, Russian constructivism, and Abstract Expressionism, among
others—are collectively referred to as the avant-garde arts.
Constructivist architecture
It was a constructivist style of modern architecture that
flourished in the Soviet Union in the 1920s and early 1930s.
Abstract and austere, the movement aimed to reflect
modern industrial society and urban space, while rejecting
decorative stylization in favor of the industrial assemblage of
materials.
*The Russian Embassy building, a constructivist architecture

landmark and diplomatic compound in Miramar, Havana,
Cuba Credit to Imageplotter Travel / Alamy Stock Photo, 23
June 2017
4. Art as a “free zone,” removed from the

action of the social censure.
Unlike the avant-garde movements,
which wanted to erase cultural differences in
order to produce new universal values,
contemporary art has enhanced its tolerance
towards cultural differences as well as its
critical and liberating functions (social inquiry,
activism, subversion, deconstruction…),
becoming a more open place for research
and experimentation.
Credit: Photo by Mong Palatino posted at the
Facebook page of Sim Tolentino.
5. Art for social inquiry, subversion, and/or
anarchy.
While similar to art for political change, subversive or deconstructivist art may
seek to question aspects of society without any specific political goal. In this case, the
function of art may be simply to criticize some aspect of society.
Page 51 of 159
6. Art for social causes.

Art can be used to raise awareness for a large variety of
causes. A number of art activities were aimed at raising awareness
of autism, cancer, human trafficking, and a variety of other topics,
such as ocean conservation, human rights in Darfur, murdered and
missing Aboriginal women, elder abuse, and pollution.
Trashion, using trash to make fashion, practiced by artists

such as Marina DeBris is one example of using art to raise
awareness about pollution.
This dress is made from takeaway containers found on the

beach and in the ocean. Taken on Malibu beach, California.
Photograph: Monching Flores
7. Art for psychological and healing purposes.

Art is also used by art therapists, psychotherapists and clinical psychologists as art
therapy. The Diagnostic Drawing Series, for example, is used to determine the personality
and emotional functioning of a patient. The end product is not the principal goal in this
case, but rather a process of healing, through creative acts, is sought. The resultant piece
of artwork may also offer insight into the troubles experienced by the subject and may
suggest suitable approaches to be used in more conventional forms of psychiatric
therapy.
8. Art for propaganda or commercialism.

Art is often utilized as a form of
propaganda, and thus can be used to subtly
influence popular conceptions or mood. In a
similar way, art that tries to sell a product also
influences mood and emotion. In both cases,
the purpose of art here is to subtly manipulate
the viewer into a particular emotional or
psychological response toward a particular idea
https://sites.google.com/a/asij.ac.jp/stan/home/c or object.
ommercial
9. Art as a fitness indicator.

It has been argued that the ability of the human brain by far exceeds what was
needed for survival in the ancestral environment. One evolutionary psychology
explanation for this is that the human brain and associated traits (such as artistic ability
and creativity) are the human equivalent of the peacock’s tail. The purpose of the male
Page 52 of 159
peacock’s extravagant tail has been argued to be to attract females. According to this
theory superior execution of art was evolutionarily important because it attracted mates.
The beauty of a work of art reveals the artist's virtuosity. This is a very old-fashioned
view of aesthetics, but that does not make it wrong. Throughout most of human history,
the perceived beauty of an object has depended very much on its cost. That cost could
be measured in time, energy, skill, or money. Objects that were cheap and easy to
produce were almost never considered beautiful.
The functions of art described above are not mutually exclusive, as many of them
may overlap. For example, art for the purpose of entertainment may also seek to sell a
product (i.e. a movie or video game).
Art Functions Compiled from

guides.hostos.cuny.edu/edu107/3-12
vicblogspot.wordpress.com/2018/06/29/artart/
mainarts.blogspot.com/2009/08/motivated-functions-of-
art.htmlcourses.lumenlearning.com/masteryart1/chapter/oer-1-2/
www.yaaka.cc/wp-content/uploads/2014/11/Art
oscarartsblog.wordpress.com/2016/11/02/first-blog-post/
It is also noteworthy to consider that the functions of art apply

not only to the artist that created a piece but to you as the
viewer or occupier of art. Your whole experience and
understanding of a piece should contribute to the function
you assign it, as well as everything you know about its
context.
The space we occupy serve us various purposes. There are spaces we occupy more often
than another because of the feelings we associate with a certain space.
Soul and Space
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Creating a space for the soul or inner

being is something that can be emotional, for
we attach meaning to objects that surround us
maybe for inspiration or spiritual support.
Although material things, including the
structure of our house and the design of our
space, do not exactly define who we are, they
can be reflective of our being – our cultural,
religious, or philosophical identities.
The Webster Dictionary defines soul as https://www.alamy.com/stock-photo/bahay-kubo.html

the “immaterial essence or animating principle
of an individual life; a person’s total self;” or even “the cultural consciousness and pride
of a person.” Space, on the other hand, may refer to “an area; a distance from other
people or things that a person needs in order to remain comfortable; an opportunity for
privacy or time to oneself.”
One of the traditional structures that defines and identifies the Filipino soul is the bahay
kubo.
The bahay kubo or nipa hut is a type of stilt house recognized as an indigenous
icon of Philippine culture. This type of village dwelling is a showcase of the simplicity of
Filipinos which has been sustained through the years. The Bahay kubo is mainly
constructed with the ever dependable bamboo or kawayan. The most dominant feature
of the house is its thick roof of nipa or anahaw leaves that insulate the interior from the
tropical sun; its steep roof keeps the rain to slide off; and the wide overhangs protect the
walls from water. The walls are made of nipa leaves or bamboo slats, and the floor is
made of finely split bamboo. The floor of bamboo slats conducts air into the house even
if all openings are closed. There are now many versions of the nipa hut, but the typical
structure is raised with thick bamboo poles, one to two meters above the ground to
provide the occupants a safe shelter from wild animals, snakes and against rains and
floods. The awning type windows on all sides keep the interior well-ventilated. When the
windows are closed, they are sealed off by the use of sliding panels. Also, it has a kind of
stairs or hagdan which can easily be disconnected at night and placed on the porch.
Some nipa huts have other features like an open back porch or batalan, used for
storage of water jars; a cellar or silong used for most household chores, and a silid or
alcove used for keeping the mats and pillows after using them. The space beneath the
Page 54 of 159
house is used for ventilation and as a storage area for food, or sometimes as a shelter for
small animals like goats and poultry.
The Filipino soul is reflected in the bahay kubo. The bahay kubo follows the
centuries-old Asian rural archetype of the single-room dwelling where all family activities
happen in one space; thus, there are no partitions for rooms. It is designed for family living
and all household activities like dining, recreation and sleeping.
Thus, this dwelling is typical for the Filipino concept of shared space and limited
privacy. Filipinos prefer living space that is communal. This preference shows their being
friendly and accommodating. Filipino families like to be surrounded by relatives all the
time despite the problems that may be created by their offsprings or other members of
the clan. Because Filipinos adhere to close family ties, they do not want to be separated
from one another. Even if the children are already married, their families are allowed to
stay in the house or they will build their own bahay kubo next to the home of their
relatives. Three or more generations of the same family live their separate but
interconnected lives under one roof. In the one-room bahay kubo, privacy is sometimes
achieved by turning one’s back, by facing the wall for few moments of solitude, or by
hanging a thin cloth curtain to achieve a private section.
Life in a bahay kubo is not bound by the walls of the house but goes out to include
the lives of neighbors and friends who are often considered as relatives. In the Filipino
lifestyle, it is all for one and one for all. Their communal ties allow them to give aid to a
family in need like if a new house has to be built or if a nipa hut needs to be transferred
to another area. This collective activity is known as bayanihan, meaning unity and
harmony. Bayanihan is an old Filipino tradition in which members of the community work
hand in hand for the common good by giving each other unsolicited assistance out of a
sense of closeness and solidarity without expecting recognition or personal gain or
something in return.
The bahay kubo is not only an indigenous architectural masterpiece but also a
national symbol reflective of the Filipino soul --- their flexibility, resiliency, simplicity as well
as solidarity.
As a dwelling space, nowadays, the bahay kubo serves many purposes – as a

guesthouse, as recreational area, as a place to rest, as an embellishment in gardens, or
even as a lovers’ nest.
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Now, let us see how much you understood from the

discussion on the functions of art and soul and space.
Accomplish this activity as a self-test.
Determine the functions of the sample artworks below. Write

your answer on the space provided.
LIKHA Pilipino Folk Ensemble. (Photo by Lilo Piamonte’s Pen and Paper, poisoned
pc@amazestudios) Mind
_________________________________ ______________________________________
Posted by Paul Militaru, Angel Praying Christiane Schulze Art and

October 9, 2018 Photograpy/fineartamerica.com
_________________________________ _______________________________________
Page 56 of 159
_________________________________________________________
TASK 1: Now that you have learned about the functions of art
and how art serves various purposes on man, as well as the
concept of soul and space, you may now take the
evaluative task prepared by your course facilitator.
References
Hasso, J. Social Protest in Art History, Harold Washington College, Triton College.
Zulueta, L. (2016). Top 4 contemporary art works for your Easter reflection. Philippine
Daily Inquirer. Retrieved from https://lifestyle.inquirer.net/225595/top-4-
contemporary-art-works-for-your-easter-reflection/
The Old Filipino Tradition of Tribal Tattoos by Ethnic Groups Philippines
"Constructivism". Tate Modern. Retrieved 9 April 2020. https://www.tate.org.uk/art/art-
terms/c/constructivism
Reading: Purpose of Art. OER Services. Retrieved from
https://courses.lumenlearning.com/suny-masteryart1/chapter/oer-1-2/
Dela Cruz, M. (2014). Functions of Art (PPT) Retrieved from
https://www.slideshare.net/dennismarkdelacruz/functions-of-art
Page 57 of 159
Purposes and Functions of Art. Retrieved from https://slideplayer.com/slide/7273383/

Page 58 of 159
Unit 3:
Subject in Art
Topic Learning Outcome:

1.Classify artworks based on the kinds/sources of subject and methods used
Study the painting by the National Artist Vicente Manansala

then answer the given questions.
1. What does each painting depict?
a.______________________________________________________________________
________________________________________________________________________
b.______________________________________________________________________
________________________________________________________________________
Luksong Tinik (Jumping over Thorns)

By Vicente Manansala
Artwork Dimensions: 31x28 in. (78 x 68
cm.)
https://www.wikiart.org/en/vicente-
manansala/luksong-tinik-jumping-over-
thorns-1973
Figure 1
3. Are the images realistic or not? Explain your answer.
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Figure 2
Convergence by Jackson Pollock
Artwork Dimensions: 93.5 inches by 155

inches
Medium: oil on canvas
Creation Date: 1952
https://www.lampsusa.com/products/aman
ti-art-jackson-pollockconvergence-framed-
print-aa114402
a._______________________________________ b.________________________________________
_________________________________________ __________________________________________
_________________________________________ __________________________________________
_________________________________________ __________________________________________
_________________________________________ __________________________________________
_________________________________________ __________________________________________
______________________________________ __________________________________________
The Luksong Tinik of Vicente Manansala portrays children playing in the familiar
Filipino game of Luksong Tinik where the youthful participants use their hands to form a
spine of thorns over which another child has to leap. As you can see, the images are
evident through the concrete appearance of three players. Two are seated on the
ground, their right feet slightly raised to touch the other’s feet. Their raised feet serve to
be the base for the spine of thorns formed by their hands. Leaping to cross over the “spine
of thorns” depicts the action of the third participant in the said game.
In the second painting, do you perceive any object, shape or figure that is
representational of anything found in reality? If the images presented in the first painting
were recognizable, you might have found the Convergence to have no such
perceptible objects. Accordingly, his painting is a collage of colors splattered on a
canvas that created masterful shapes and lines evoking emotions and attacking the eye.
The perceptibility of the images depicted in the two paintings differs because the
types of subject the paintings represent also differ. Luksong Tinik is an example of
representational subject of art and the Convergence exemplifies a non-representational
Page 60 of 159
type of subject. To guide you in understanding further the subject of art, read the notes
provided for you.
Understanding the subject and content in art is one of the

steps to art appreciation. Read further to know more
about the kinds of subjects, the sources of subject, and the
content in art.
What is subject in art?
Subject in art refers to any person, object, scene or event

described or represented in a work of art.
The definition of the subject in art refers to the main
character, object, or anything else that is presented as the main
focus in the work of art.
The subject can appear in the center of the piece, or in
any other part of it, but it is always the most recognizable thing in the
entire work of art, regardless of its size.
To a majority of people, the appeal of most works of art
lies in the representation of familiar objects.
General Types of Subject in Art

Page 61 of 159
Representational Art or figurative art

represents objects or events in the real world,
usually looking easily recognizable; refers to
artworks—particularly paintings and sculptures–that
are clearly derived from real object sources, and
therefore are by definition representing something
with strong visual references to the real world.
Non-representational: Work that does not depict

anything from the real world; may simply depict
shapes, colors, lines, etc., but may also express
things that are not visible– emotions or feelings for
example.
Non-representational art is basically about lines, shapes, colors

and can even be splotches, paint drips or paint splatters. It is
art that is not trying to represent reality like an image of a cat,
a face or a landscape.
What else do
you need to Subjects can also be categorized as representational
know? abstraction and non-representational abstraction.
Abstraction indicates a departure from reality in the depiction of imagery in art.

Abstraction exists along a continuum; abstract art can formally refer to compositions that
are derived (or abstracted) from a figurative or other natural source. It can also refer to
nonrepresentational art and non-objective art that has no derivation from figures or
objects.
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A. Vincent Van Gogh’s Self-portrait, 1889 B. Pablo Picasso’s Self-portrait, 1907
>Both self-portraits A and B are examples of

representational abstraction because they
do not depict real representation of the
artists’ faces even though they are
recognizable.
>Self-portrait A briefly depicts something

easily recognized by most people as van
Gogh’s image.
>Portrait (B) may be far from a close

resemblance of his facial features, but any
viewer can perceive every part of his face
and shoulders even if the whole portrait
appears to be cubist.
Self-portrait C has almost no direct

resemblance to a face, a head, or really
any literal subject matter. It represents him
C. Lajos Vajda Self-portrait, 1937 somehow, but it is not representational of
Charcoal on Paper him. Thus, his work is an example of non-
representational abstraction.
Page 63 of 159
Kinds/ Sources of Subjects
If you need some ideas and inspiration, remember that subjects in art can be anything
you want them to be - whatever your imagination conjures up. The most important thing
is to choose a subject matter that interests you - something that you can happily immerse
yourself in while working on your piece.
1. Still Life
These are groups of inanimate objects arranged in an
indoor setting (flower and fruit arrangements, dishes food,
pots and pans, musical instruments and music sheets). The
arrangement is like that to show particular human interests
and activities.
– The still life of Chinese and Japanese painters usually

shows flowers, fruits and leaves still in their natural setting,
unplucked from the branches.
https://www.amazon.com/Art-Still-Life-Contemporary-Composition/dp/1580935486
Today, focus is on the exciting arrangement and combinations of the object’s shapes
and colors.
2. Animals
– They have been represented by artists from almost every age and place. In fact, the
earliest known paintings are representations of animals on the walls of caves.
– The carabao has been a favorite subject of Filipino
artists.
– The Maranaws have an animal form of sarimanok as
their proudest prestige
symbol.
– Animals have been used as symbols in conventional
religious art.
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https://web.facebook.com/Lopez.Museum.Library/photos/sarimanok-maranao-symbol-
of-good-fortune/10151470407874824/?_rdc=1&_rdr
• The dove stands for the Holy Spirit in representations of the Trinity
• The fish and lamb are symbols of Christ
• The phoenix is the symbol of Resurrection
• The peacock is the symbol of Immortality through Christ
3. Portraits/Portraitures
People have always been intrigued by the human

face as an index of the owner’s character. As an instrument of expression, it is capable
of showing a variety of moods and feelings.
It is a realistic likeness of a person in sculpture, painting, drawing or print, but it needs to

be a photographic likeness. A great portrait is a
product of a selective process, the artist
highlighting certain features and de-emphasizing
others.
- Besides the face, other things are worth noticing

in portraits are the subject’s hands, which can be
very expressive, his attire and accessories for it
reveals much about the subject’s time.
– Statues and busts of leaders and heroes were

quite common among the Romans but it was not
until the Renaissance that portrait painting
became popular in Europe.
– Many artists did self-portraits. Their own faces

provided them unlimited opportunities for
character study.
http://www.circlelo.com/cla/PORTRAIT/index.htm
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4. Figures
–The sculptor’s chief subject has traditionally been the human

body, nude or clothed. The body’s form, structure and flexibility
offer the artist a big challenge to depict it in a variety of ways,
ranging from the idealistic as in the classical Greek sculptures to
the most abstract.
– The grace and ideal proportions of the human
form were captured in religious sculpture by the
ancient Greeks. To them, physical beauty was the
symbol of moral and spiritual perfection; thus
they portrayed their gods and goddesses as
Figure Sculpture Gallery
possessing perfect human shapes.
philippefaraut.com
5. Everyday Life
– Artists have always shown a deep concern about life around

them. Many of them have recorded in paintings their
observation of people going about
their usual ways and performing their usual tasks.
– Genre Paintings – representations of rice threshers,
cockfighters, candle vendors, street musicians and children at
play.
Saatchi art by Nadia Tsakova
6. History and Legend
– History consists of verifiable facts, legends of

unverifiable ones, although many of them are
often accepted as true because tradition has
held them so far. Insofar as ancient past is
concerned, it is difficult to tell how much of what
we know now is history and how much is legend.
– History and Legend are popular subjects of art.
Bonifacio Monument Designed by Guillermo

Tolentino
https://faq.ph/famous-monuments-and-shrines-
in-the-philippines-that-you-should-visit/
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– While many works may not be consciously done historical records, certain information
about history can be pieced from them. The costumes and accessories, the status
symbols, the kinds of dwellings or the means of
transportation.
– Malakas and Maganda and Mariang Makiling are among the legendary subjects
which have been rendered in painting and sculpture by not a few Filipino artists.
7. Religion and Mythology

– Art has always been a handmaiden of Religion.
Most of the world’s religions have used the arts to
aid in worship, to instruct, to inspire feelings of
devotion and to impress and convert
nonbelievers.
– The Christian Church commissioned craftsmen to
tell the stories about Christ and the saints in
pictures, usually in mosaics,
murals and stained glass windows in churches. It
also resorted to the presentation of tableaux and
plays to preach and teach.
Birth of Venus Tempera on canvas by Italian

artist Sandro Boticell
- Some religions however, forbid the representation of divinity as human beings or animal
forms, although they allow the use of some signs or symbols in their place.
• Pictures of God, human beings, or animals are

forbidden in Judaism and Islam because people
might worship the images themselves
• Other religions have taught that a god may

sometimes assume human or other visible forms.
Thus, he is distinguished from human beings by a
halo, wing, or a darker complexion, or by the use
of some attributes
Egyptian god, Anubis depicted as a jackal

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» The ancient Egyptians portrayed their gods as
Nepal - 14th-15th century The Goddess

Durga as Slayer of the Buffalo Demon
part human and part animal
» The ancient African tribes distorted their god’s

features
» Among the Hindus, Shiva is shown as a four-

armed god
» Buddha, is symbolized by his footprints, a

wheel or a lotus flower
8. Dreams and Fantasies
– Dreams are usually vague and illogical. Artists

especially the surrealists have tried to depict dreams as
well as the grotesque terrors and apprehensions that
lurk in the depths of the subconscious.
– A dream may be lifelike situation. Therefore, we would

not know if an artwork is based on a dream unless the
artist explicitly mentions it.
Fantasy art by Jeremiah Morelli
– But if the picture suggests the strange, the irrational and

the absurd, we can classify it right away as a fantasy or dream although the artist may
not have gotten from the idea of a dream at all but the workings of his imagination
– No limits can be imposed on an artist’s imagination
9. Landscapes
Natural scenery such as mountains, cliffs, rivers,

etc. Because of art’s continuous expansion in
terms of genre and kinds, other types of subject
have been recognized
Sunflower and
Lavender Field
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by by Mona Edulesco
10. Sacred – scenes and images found in the bible
Jesus Washing the feet of the disciples

Maria Magdalena Oosthuizen Art .. X ღɱɧღ ||
11. Visionary- art that involves simplification and/or rearrangement of natural objects
to meet the needs of artistic expression
From Artranked.com
12. Cityscape- images found in the city such as

buildings, transportation, and
other structures
Cityscape from the

guardian.com
13. Wildlife- scenes and images depicting animals

and their ways of life
Page 69 of 159
Realistic Wildlife paintings by Collin Bogle

https://allworldbest.blogspot.com/2012/10/beautiful-realistic-wildlife-paintings.html
Methods of Presenting Art Subject
In the previous discussions, you were presented what subject of art is and the
difference between representational and non-representational art. You were also
provided the list of the different kinds of subjects with the examples. Now, you are ready
to deepen your understanding of the subject of art by delving into the ways by which a
subject in art is presented.
The manner of representing subjects varies according to the intent and

inventiveness of each artist. Familiarize yourselves with the different characteristics of the
methods. Then determine how the methods are applied on the sample art works.
Page 70 of 159
1. REALISM – when things are depicted in the way

they would normally appear.
It depicts what the eyes can see, what the ear can
hear, what the sense faculty may receive. Example
was the painting of Zeuxis, 5th century painter. The
subject of his painting was a grape. When he
unveiled his painting of grapes, they appeared so
real, luscious and inviting that the birds flew down
from the sky to peck at them.
Still life with Four Bunches of Grapes, Juan

Fernandez’ el Labrador, ca 1936, Museo Del Prado
2. ABSTRACTION – the process of simplifying

and/or reorganizing objects and elements
according to the demands of the artistic
expression
The artist does not show the subject at all as an

objective reality, but only his idea, or his feeling
about it (exaggerated emotionalism). It is all
about what the artists feel and what mood they
might want to portray.
Abstract art is all shapes, no real-life images,

scenery, or objects. (See forms of abstraction in Abstract on the Go 006 18x24 Acrylic on Canvas by
Filipino artist, Buboy Dinapo
the succeeding pages)
Page 71 of 159
4. SYMBOLISM- Artists systematically use symbols

to concentrate or intensify meaning, making the
work of art more subjective (rather than
objective) and conventional.
For example, a flag is a symbol of a country and

it depicts the value of nationalism; a lion to
represent courage and a lamb to represent
meekness. The logos and emblems of business
firms and the coat of arms of bishops are also
examples of symbolism.
In architecture, the most consistent symbolic forms

have been the dome, the tower, the stairway, the US Capitol Building, Washington DC, Britannica.com/
portal, and the colonnade. architecture
5. FAUVISM- is derived from the French “les

fauves,” which means “the wild beasts.” It is
an artistic movement of the last part of the 19th
century which emphasized spontaneity and
use of extremely bright colors. To a fauvist, for
example, a tree trunk need not be brown. It
could be bright red, purple or any other color.
Les toits de Collioure of Henri Matisse, 1905

Oil on Canvas 59.5 cm × 73 cm (23.4 in × 29 in
Page 72 of 159
6. DADAISM- a system of art which is per se

“nonsensical.”
It is a reaction to what people believed
were outworn traditions in art, and the evils
they saw in society. It tried to shock and
provoke the public with outrageous pieces of
writing, poetry recitals and art exhibitions.
Giuseppe Arimboldo and his piece, "Vertumnus" 1590 -

1591
6. FUTURISM
Futurism was presented as a modernist
movement celebrating the technological,
future era. The car, the plane, the industrial
town were representing the motion in
modern life and the technological triumph of
man over nature.
Donald Davis’ Shaped Space Coony, 1970

Page 73 of 159
7. SURREALISM-is an offshoot or a child of dada. It is also

known as “super realism,” which revolves on the method of
making ordinary things look extraordinary. It focuses on
real things found in the imagination or fantasy or it has
realistic subjects that are found in the unconscious mind;
depicting dreamlike images
of the inner mind.
Beatriz Susana Zobel de Ayala by Filipino

artist, AndresBarri-oquinto
8. IMPRESSIONISM- is also sometimes

referred to as optical realism due to its
interest in the actual viewing
experience, including such things as the
effect of color, light and movement on
the appearance of the objects
depicted in the artworks.
Impressionism focused on
directly describing the visual sensations
derived from nature.
Poppies of Claude Monet, 1873
Forms of Abstraction
There are several ways to present art subjects through abstraction. Below is a list of these
forms and a short description of each. A more detailed discussion about abstract art is
provided in the next module.
Page 74 of 159
To increase your understanding of subject in art, you are

highly encouraged to watch the video on How to Analyze
the Subject Matter of a Work of Art from
https://www.youtube.com/watch?v=jIvzDTsaEPg
Analyzing subjects in art requires self-learning. Research

about
The T’boli tribe and the famous artworks they have made.
After researching about their culture and their art, answer the
following questions:
1. How important is art in the T’boli culture?
2. What cultural practices or events influenced their art making?
3. Cite a common subject in T’boli culture and art and explain
this commonality.
Be ready to share your answers with your classmates.

Page 75 of 159
You are now equipped with the vital information you will
need for the task of studying an artwork that is appealing
to you.
A. (Teacher-prepared quiz) Review the lessons in this unit
in preparation for your graded assessment.
B. ( Integrated Prelim Activity)
Through art works, we get hold of details about an artist’s life, style, ingenuity,
and sources of subject. In Unit 3, we learned that a self-portrait is an artwork that
depicts the artist that produced it. Pretend that you are to introduce yourself to other
students in your program through a self-portrait. Your self-portrait must highlight your
three most striking or best features.
Using old or recyclable materials commonly used in your program such as yellow
worksheet for accountancy and business students, graphing paper, broken rulers or
empty tech pens for engineering students, or old magazines or newspapers for
communication students, and other art materials available at home, craft your self-
portrait. You may use any of your recent photos as basis for this task.
On an 8x11 document, paste a photo of your self-portrait and the photo basis. Include
a three-sentence description of your work below your self-portrait.
RUBRIC:
13-15 9-12 5-8 1-4

FEATURE The self-portrait The self-portrait The self-portrait The self-portrait
highlights three depicts one or depicts one or does not
striking features two striking two features, highlight any
that are features that but not striking feature.
intricately are rendered rendered
rendered. creatively, but creatively
not enough to be
emphasized considered
enough. striking.
9 - 10 6-8 3-5 1-2
CRAFTMANSHI The self-portrait The self-portrait The self-portrait The self-portrait
P is is has few lacks
expressive and expressive and details. It is almost all detail
detailed. somewhat primarily OR
Shapes, detailed. representation it is unclear
patterns, value Fair use has al what
been the output is
Page 76 of 159
and/or texture made of with very little intended to be.

are used to shapes, use Student needs
add patterns, value of shapes, to
interest to the and/or texture. patterns, value work in control.
artwork. Student had and/or texture. None of the
Majority of the Student needs materials used
materials used basic skills but to evidence the
evidence the had improve student’s
student’s not branched control. Few of program.
program. out. Some the materials
materials used used evidence
evidence the the student’s
student’s program.
program.
CREATIVITY The student has The student has The student The student has
taken the taken the has not
method method copied parts made much
being studied being studied of the attempt to
and as artwork from reflect
applied it in a his/her own but another his/her own
way has source personality/voic
that is totally used another material. There e
his/her own. source material is in the artwork.
The as little evidence
student’s a starting of
personality/voic place. creativity.
e The student’s
comes through. personality/voic
e
comes through
in
parts of the
artwork.
5 4 3 1-2
EFFORT The self-portrait The self-portrait The self-portrait The self-portrait
is done is done is done is done with
with with good care with basic minimal care
exceptional and attention care and
care and to and attention attention to
attention detail and to detail
to detail and neatness. It detail and and neatness.
neatness. It shows neatness. It
shows student’s fair shows
Page 77 of 159
student’s concern for a a sense of

concern quality output. student’s
for a high concern
quality for a quality
output. output.
MECHANICS The student has The student has The student The student has
followed all the followed three has followed one of
required of followed two the required
format, the required of the format,
materials, and format, required materials,
size materials, format, and size for the
for the output. and size for the materials, and output.
output. size
for the output.
Punctuality The student The student The student The student
passed the task passed the art passed the passed the
on time. work 1 minute artwork artwork after
to 1 hour late. beyond one one day.
hour after the
deadline.
References
Antliff, M. & Leighten, P. (2008). Sur quelques peintre, Les Marches du Sud-Ouest, June
1911, pp. 57-64 in A Cubism Reader, Documents and Criticism, 1906-1914, The
University of Chicago Press. Arsology. Retrieved from
https://artsology.com/emotion-in-art.php
"Constructivism". Tate Modern. Retrieved 9 April 2020. https://www.tate.org.uk/art/art-

terms/c/constructivism
Dela Cruz, M. (2014). Functions of Art (PPT). Retrieved from

https://www.slideshare.net/dennismarkdelacruz/functions-of-art
Hasso, J. Social Protest in Art History. Harold Washington College, Triton College.
Ingram, C. (2019). Art criticism steps for inspired art connections and conversations.
Retrieved from SPARK Distance Learning Art Curriculum Website:

https://artclasscurator.com/art-criticism-steps/
Page 78 of 159
Kuczynski, P. (2004). Satirical painting [Painting]. Retrieved from

https://digitalsynopsis.com/inspiration/36-thought-provoking-paintings-pawel-
kuczynski
Luna, J. (1884). Spolarium [Painting]. Retrieved from

https://commons.wikimedia.org/wiki/File:Spolarium.jpg
Michelangelo. (1814). The Creation of Adam [Painting]. Retrieved from

https://www.thinglink.com/scene/652185222174998529
Purposes and Functions of Art. Retrieved from https://slideplayer.com/slide/7273383/
Rayans, R. (2005). Art Talk (4th Ed.) Glencoe, Mc Graw Hill. CA. ISBN 0-07830599-3
Reading: Purpose of Art. OER Services. Retrieved from

https://courses.lumenlearning.com/suny-masteryart1/chapter/oer-1-2/
Sachant, P. (Ed). Introduction to Art: Design, Context and Meaning. University of North
Georgia Press, Georgia. ISBN 978-1-940771-29-8
Zucker S. and Harris, B. (2015, July 26). Art historical analysis using Goya’s Third of May.
Retrieved from https://www.youtube.com/watch?v=_QM-DfhrNv8
The Old Filipino Tradition of Tribal Tattoos by Ethnic Groups Philippines
Zulueta, L. (2016). Top 4 contemporary art works for your Easter reflection. Philippine
Daily Inquirer. Retrieved from https://lifestyle.inquirer.net/225595/top-4-
contemporary-art-works-for-your-easter-reflection/
https://differencebtwn.com/what-is-the-difference-between-subject-and-content
https://courses.lumenlearning.com/sac-artappreciation/chapter/oer-1-4/
https://www.youtube.com/watch?v=0P7E01VdPYk
https://arthearty.com/understanding-nonrepresentational-art-with-examples
https://kirstenleithviscom.wordpress.com/2013/03/01/comparing-old-and-original-art-
movements-surrealism/
https://mix106radio.com/he-says-his-ex-is-art-opp/
https://www.pinterest.ca/pin/435723332668284521/
https://theartling.com/en/artzine/famous-surrealist-artists-asia/
Page 79 of 159
https://www.nytimes.com/2020/05/22/opinion/letters/coronavirus-poems.html
https://www.saatchiart.com/paintings/impressionism/nature/philippines
Page 80 of 159
MODULE 2:
ELEMENTS AND PRINCIPLES OF ART
Closely study the images below and answer the questions.
What catches your attention in the

image?
______________________________________
______________________________________
______________________________________
______________________________________
Which did you see first, the sky or the

sides of a mountain? What made you
see it first?
______________________________________
______________________________________
______________________________________
______________________________________
Describe the pattern used.
______________________________________
______________________________________
______________________________________
Page 81 of 159
What we see it works of art is an interplay between

elements and principles. Let’s
first take a look at the
elements.
Elements of Art
1. COLOR
• According to Rose (2001), color is a crucial component of an image’s
composition. There are ways to look into color:
a. Hue – refers to the actual colors of a painting;
b. Saturation – refers to the purity of a color in relation to its appearance in the color
spectrum; and
c. Value – refers to the lightness and darkness of a color.
2. Line
It is the distance between two points.
3.Space
• It is the distance
between or within shapes, forms, colors, and lines.
a. Positive space – refers to the area of the composition
that the subject occupies.
b. Negative space – refers to an empty or open space
that surrounds the object.
4. Form
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It is the overall form taken by the artwork; the physical nature of a work of
art.
5. Shape
It is the result of closed lines, either two-dimensional lines or
flat lines.
6. Value
It is the gradual change of color
from lightness to darkness.
7. Texture
It is the way art is felt by
touching and seeing
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Let’s now expound our knowledge of reading art through

the principles of art.
1. Pattern is the repeating unit of space or form. It is the

repetition of a visual element.
Types of patterns:
a. Man-made patterns – refer to the patterns based on patterns of nature.

Examples: Shapes of the leaves, shells, or fishes
a. Natural patterns – refer to the patterns that are both structural and
decorative in purpose.
Examples: Patterns of waves, or trees
2. Balance is how each element of art relates to the other

within a composition. Balance creates a visual
equilibrium.
Two types of balance:
a. Asymmetrical balance – it is when both sides are different, but it is arranged

so that it looks balanced.
b. Symmetrical balance – refers to a sense of formality, order, and
permanence.
3. Emphasis is the focal point of art to attract a person’s attention. Artworks may
have one or more areas of emphasis
4. Contrast is the difference in art. It is the arrangement of opposite elements,
such as smooth and rough textures, small and large shapes, and light and dark
colors.
5. Harmony and unity give art a sense of cohesion. It is when an artwork
achieves a certain point of wholeness. An artwork becomes complete because
all the elements work together in a composition.
6. Variety takes place when an artist uses different elements in a composition.
The artist chooses to vary in exposure, color, angle, shapes, and sizes.
7. Movement is the physical movement in art. Movement can also be shown
through repetition, like lines repeating over and over again.
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8. Proportion in art means the relationship of two objects in a composition. An

object’s relationship referred to as a whole.
Now that you have learned about the different elements

and principles of art, you are now ready for a virtual art
walk. Visit a virtual museum like the British Museum(
https://britishmuseum.withgoogle.com/) and select an
artwork that has some of the elements and principles of art.
Be ready to share your selected to photo in class.
You are now equipped with the vital information you will
need for the task of studying an artwork that is appealing
to you. Review the lessons in this Module in preparation for
your graded assessment.
Module 3
CONTENT IN ART
In order to appreciate any artwork, you do not only consider your own lense in
interpreting it, but also the lense of the one who made it. Levels of
meaning in art help you analyze the content of an artwork in terms of its
factual, conventional, and subjective meaning.
In order to allow the viewer to easily understand an

artwork, there are components or clues that mediate
between him and the artwork. The subject of art you
recently learned contributes in drawing the message
conveyed by any piece of art. To fully understand this concept, look at the
painting below. The painting is a challenging picture for you to interpret. What
emotion do you feel from looking at the painting? Is it anger, as the hand
crumples some paper in a moment of disgust? Or is it sadness, as a hand
clutches a used Kleenex? What do you think?
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Let’s take a look at the next painting by David Alfaro Siqueiros. Does it show the same
emotion depicted by the above painting? What does the painting tell you?
What elements show the person’s fighting back tears? Write your answers on the
space provided
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
Based on your answers, write an assumption about

what the painting means.
Painting 1: _________________________________________
___________________________________________________
Painting 2: _________________________________________
____________________________________________________
Page 86 of 159
Images, figures, and elements found in any form of art point to art’s subject and even
to its content. All these components or details help you as a viewer analyze and
eventually derive at meanings that stem from your own experiences, knowledge, and
values. Analyzing an artwork can enhance your perception and your ability to translate
to others what you see. This also improves acuity and communication skills which are
useful in your future profession.
Art is everywhere. We can see them in the park, street,

walls, buildings, and the like. We can simply look at it and
say “I like it”. or Ï don’t like it”. We have predetermined
notions about it, but if we try to stop for a moment and
take a deep breath, we might see some details that we
haven’t noticed before. We might be able to absorb
those details if we try to slow down a bit and see how these works of art are connected
to our personal lives.
Having the skills of seeing, perceiving, asking, reflecting, and knowing (SPARK),
you would be able to understand the meaning of any work of art. Content in art refers
to the meaning or message that is expressed or communicated by the artwork. These
may be communicated feelings, reactions, and ideas connected with the subject
(Ryall, 2009).
In understanding the content of art, it is important to note the various levels of meaning
(Ortiz, 1978).
1. Factual Meaning is the literal statement of the work because of the recognizable
figures or images.
2. Conventional Meaning refers to a special meaning that a figure, color, line or image
has to a specific group or culture.
3. Subjective Meaning stems from the viewer’s or audience’s circumstance that comes
into play when engaging with art (what we know, what we learned, what we
experienced, and what values we stand for). When subjectivities are consulted, a
variety of meanings may arise when a particular work of art is read. Thus, meaning may
not be singular, rather multiple and varied.
To illustrate this, let’s take a look at the painting, Creation of Adam of Michelangelo in
1814.
Page 87 of 159
This narrates a story in the Bible, thus, its subject is biblical art. In terms of its factual
meaning, literally it shows a creation story or the creation of man. This idea is
extracted from the identifiable and recognizable forms, elements, or images
(naked Adam reclining, background, God surrounded angels and floating, etc.)
In terms of conventional meaning, man is created in the image and likeness of
God. This kind of interpretation has been acknowledged by many viewers and
scholars. The likeness of the actors in the painting, leveling and other symbols
contribute to this type of meaning. Lastly, the subjective meaning is the
endowment of intellect to man from God. Michelangelo’s painting shows God is
bestowing Adam with the gift of the intellect and that it is by using this great gift
that man may reach his highest potential and bring all things his mind develops
into creation.
In identifying content, elements and form play important roles in

bringing out what the viewers should feel and how they
experience these works of art. The conveyed messages of these
artworks come from the analysis of all their compositions. In order
to understand and apply this concept in the next part of the
lesson, watch the analysis done by Dr. Steven Zucker and Dr. Beth
Harris in Goya’s Third of May in 1808. Visit this link
https://www.youtube.com/watch?v=_QM-DfhrNv8 and pay attention to how
they interpret the compositions of the painting leading to its conveyed message.
After watching the video, write down three (3) images that contribute to the
subjective meaning of the painting and what these images stand for.
Page 88 of 159
IMAGES MEANINGS
The Spolarium is the most valuable oil-on-canvass painting

by Juan Luna. With a size of 4.22 meters x 7.675 meters, it is
the largest painting in the Philippines. This painting, argued
by many scholars was a metaphor for the state of the
Philippines under the Spanish rule.
It is an advantage to you to use this painting for understanding the differences of
meanings since you can relate to the constructs of the circumstances depicted
by it. This will serve as a formative evaluation prior to your graded task. First, study
the painting then write in the box all the objects, actors, images, elements you
see. After writing all those important components, analyze the following
statements then identify whether it is a factual meaning (F), conventional
meaning (C), or subjective meaning (S).
___1. The painting features fallen gladiators being dragged by Roman soldiers.
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___2. The fallen gladiators who are being dragged in the painting are the Filipino
people, while the men dragging them are representative of the Spanish rule.
___3. It tells the Filipinos to rise up against the political oppression.
___4.The blood thirsty crowd to the left represents the social cancer on that time.
___5. An old man carries a torch perhaps searching for his son while a woman weeps
the death of her loved one.
___6.The Spolarium shows Filipinos’ social, moral, and political life.
___7.It shows humanity unredeemed, reason and aspiration in open fight with prejudice,
fanaticism, and injustice.
___8.The painting shows a tragic event.
___9.It is believed that the woman crouched on the right side of the painting is the
Mother Country or the Inang Bayan who weeps for her Philippines.
___10. On the left side of the painting, spectators ardently await their chance to strip off
the combatants of their metal helmets and other armory.
Now that you know how to differentiate the levels of

meaning, apply the concept by studying the painting below.
Give its factual, conventional, and subjective meanings in the
second column then write the images, elements, symbols, or
forms with short descriptions that help you come up with
those meanings in the third column.
Page 90 of 159
Types of Meaning Answers in 2-3 Images/Elements/

sentences Symbols/
Factual
Conventional
Subjective
V. References
Antliff, M. & Leighten (2008) P. Sur quelques peintre, Les Marches du Sud-Ouest, June
1911, pp. 57-64 in A Cubism Reader, Documents and Criticism, 1906-1914, The University
of Chicago Press. Arsology. Retrived from https://artsology.com/emotion-in-art.php
Ingram, C. (2019). Art criticism steps for inspired art connections and conversations.
Retrieved from SPARK Distance Learning Art Curriculum Website:
https://artclasscurator.com/art-criticism-steps/
Kuczynski, P. (2004). Satirical painting [Painting]. Retrieved from
https://digitalsynopsis.com/inspiration/36-thought-provoking-paintings- pawel-
kuczynski
Luna, J. (1884). Spolarium [Painting]. Retrieved from
https://commons.wikimedia.org/wiki/File:Spolarium.jpg
Michelangelo. (1814).The Creation of Adam [Painting]. Retrieved from
https://www.thinglink.com/scene/652185222174998529
Rayans, R. (2005). Art Talk (4th Ed.) Glencoe, Mc Graw Hill. CA. ISBN 0-07830599-3
Sachant, P. (Ed). Introduction to Art: Design, Context and Meaning. University of North
Georgia Press, Georgia. ISBN 978-1-940771-29-8
Zucker S.and Harris, B. (2015, July 26). Art historical analysis using Goya’s Third of May.
Retrieved from https://www.youtube.com/watch?v=_QM-DfhrNv8
https://differencebtwn.com/what-is-the-difference-between-subject-and-content
https://courses.lumenlearning.com/sac-artappreciation/chapter/oer-1-4/
https://www.youtube.com/watch?v=0P7E01VdPYk
https://arthearty.com/understanding-nonrepresentational-art-with-examples
https://kirstenleithviscom.wordpress.com/2013/03/01/comparing-old-and-original-art-
movements-surrealism/
https://mix106radio.com/he-says-his-ex-is-art-opp/
https://www.pinterest.ca/pin/435723332668284521/
https://theartling.com/en/artzine/famous-surrealist-artists-asia/
https://www.nytimes.com/2020/05/22/opinion/letters/coronavirus-poems.html
https://www.saatchiart.com/paintings/impressionism/nature/philippines
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MODULE 4:
MEDIUMS, ART MOVEMENTS, AND NARRATION, APPROPRIATION, AND BORROWING
Each Art Movement is fashioned out of an impetus. Art movements refer to

shared artistic style, approach, ideals or milieu. The commonality in artistic ideology or
objective of several artists encouraged the establishment of various Art Movements. This
convenient classification has assisted art aficionados, critics, and students in the
comprehension of art within a context. There is certainly a variation in terms of
penchant in art across time frames. In addition, the styles over time is vast and
continuous to expand to this day. These styles and movements have undergone several
phases greatly influenced by the artist and the circumstances that surround the artist.
Some movements are short-lived, while others remain rich and alive to this day.
Are you familiar with Abstract Expression? Symbolism? Classical? Write 3-5 sentences
about the art movement you are familiar with.
_____________________________________________________________________________________
_____________________________________________________________________________________
_________________________________________________________________________
Find out more about Art Movements in the next section of this module.
School? Style or Movement? Many encounter these terms when studying art. These
terms are often interchanged and may stir confusion.
(kindly check recorded art movements lecture)
By definition, style is a fairly encompassing term which can refer to several

aspects of art such as techniques employed by the artist to produce an artwork. On the
other hand, a school refers to a group of artists who share the same style, teacher,
goals, manifestoes, or belief. They are typically linked to a single location. Finally, a
movement is a group of artists who share a common style, theme, or ideology towards
their art. Unlike a school, these artists need not be in the same location, or even in
communication with each other. Though these terms may appear similar, the subtle
differences make each term unique.
In your reading of the different movements, you will encounter the terms oil, acrylic,
watercolor, limestone, marble, and others. These are called medium in art.
Some of the common mediums in painting are oil, acrylic, watercolor, fresco, crayon,
pastel, and pencil. On the other hand, bronze, marble, basalt, ivory, animal bones,
copper, wood, and others. Performance art uses the artist’s own body as the material or
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medium. The expansion and overlapping of these media are also evident in some forms
of art.
On the next pages are the important periods and movements in art:
1. Primitive and a. Primitive art is primarily focused on creating

Egyptian Arts both practical and beautiful artworks. This form of art
often represented scenes of hunting and deities. The
term primitive art is often referred to the cultural
artifacts of primate peoples, that is, those ethnic
groups believed to have quite different historical
periods and remote creations from the geographical
point of view. Included in this form of art are the
Oceanic Art (Pacific islands), African Art (Sub-
Saharan), and The Aboriginal Art (Australia) together
with the other types of Rock Art from South-East Asia
and the Americas.
b. Egyptian Art which was produced by the
civilization in the lower Nile Valley from 5000 BCE to
300 CE included sculpture, painting, architecture, and
other arts. Considerable sophistication in sculpture
and painting was reached during this period. The
emphasis on life after death and the preservation of
knowledge of the past were the goals of the artist
from this period; hence, much of the surviving art
comes from monuments and tombs. Ancient Egyptian
art in a narrower sense, refers
to those to those to developed from 3000
BCE to the third century.
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2. Classical a. Geometric, Archaic, Classical, and Hellenistic

Arts (Greek and are the typical periods in the ancient Greek art. These
periods, collectively, span roughly from 1000 B.C. to
Roman)
323 B. C. Images of gods, images of humans, and
images of heroes are what Greek art is all about. The
Greeks’ self-awareness is manifested in the manner
they decided to mirror themselves and the world,
both real and imaginary.
b. Roman art was greatly influenced by the Greeks.
The Romans, after conquering the Greeks, brought
many Greek artists to Rome to make sculptures for
them in Greek fashion. Ancient Roman art spans
almost 1000 years in three continents: first in Europe,
second in Africa, and third in Asia. It was in 509 B.C.E.
that the first Roman art was dated and lasted until 330
C.E. Included in these artworks were a broad spectrum
of media including painting, marble, silver and bronze
work, terracottas, and gems, just to enumerate a few.
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3. Asian Arts Chinese art traditions, covering a vast and ever-

changing geopolitical landscape, are the continuous in
(Chinese and the world. Due to change in times and due to change in
Japanese) dynasties, traditional Chinese art has varied. Chinese art
can be traced to 5000 B.C. when Stone Age people made
decorated objects of bones, stones, and pottery.
Japanese art shows unique styles and means of
expression, including ceramics, sculpture, painting and
calligraphy on silk and paper, the ukiyo-e woodblock
prints, origami, and more recently, manga together with a
vast array of other types of artworks. With this, Japanese
art is considered as one of the greatest treasures of the
world. The period starts from the beginning of human
settlements, in about 10,000 BC, to the present.
In the 1870s the term Japonisme was first coined by French

critic Philippe Burty to refer to the Japanese art craze that
took place in Europe because of trade. As Japan began
trade with Europe, the aesthetic and philosophies of
Japanese design quickly became fashionable. European
collectors amassed both high-end objets d'art and
inexpensive prints (which were actually originally included
as packing material for fragile luxury goods). Édouard
Manet, Edward William Godwin, James Whistler are
believed to have been greatly influenced by Japanese
art.
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4. Medieval a. Art history of the Medieval period spans from 300

AD, the fall of the Roman Empire to 1400 AD, the
and Early Renais- beginning of the Renaissance. Art evolved in the Middle
sance Ages as the traditional and the new subjects were
continuously addressed by humans. Biblical subjects,
Christian dogmas, and classical mythology were included.
b. This Early Renaissance is also known as the

Quattrocento, derived from the Italian mille quattrocento,
meaning 1400, and refers primarily to the period
dominating the 15th century in Italian art. It was the
forebear to the following High Renaissance, North
European Renaissance, Mannerism, and Baroque periods
that followed. Some notable artists of this period are
Masaccio, Filippo Brunelleschi, Fra Angelico, Andrea
Mantegna, Andrea Mantegna, and Sandro Botticelli.
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5. Renais- The origins of Renaissance art can be traced totally in the

late 13th and 14th centuries. Under the combined
sance Arts influences of an increased awareness of nature, a revival
of classical learning, and a more individualistic view of
man, different artworks were produced in Europe. Some of
these included literature, architecture, music, sculpture,
and painting. There two different sub periods or categories
of Renaissance:
1) High Renaissance is the peak of Renaissance

art. It is characterized above all by the qualities
of harmony and balance. Although movement
is both necessary and important, it is always
dignified and calm, and the viewer's eye is
always provided with a point of focus. Artists
during this period were believed to be those
who have perfected the depiction of human
proportion and emotion in their art. High
Renaissance celebrated man’s ability to create
works that were deemed perfect. Some
notable artists of this period are Titian,
Michelangelo, Raphael, and Da Vinci.
2) The Northern European Renaissance began around
1430 when artist Jan van Eyck began to borrow the Italian
Renaissance techniques of linear perspective, naturalistic
observation, and a realistic figurative approach for his
paintings. Art was taken off its glorified pedestal that had
previously been occupied by only the rich and powerful
and made accessible to the new burgeoning merchant
classes. Popular artists of this period are Jan van Eyck,
Roger van der Weyden, Hieronymus Bosch, Albrecht Dürer,
Lucas Cranach the Elder, Hans Holbein the Younger.
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6. Mannerism a. Mannerism is an artistic style that predominated in

Italy from the end of the High Renaissance in the 1520s to
and Baroque the beginnings of the Baroque style around 1590. The term
Mannerism was derived from the Italian word Manierismo,
from maniera which means “manner,” or “style.” The
Mannerist style originated in Florence and Rome between
1510 and 1520 and spread to Northern Italy and, ultimately,
too much of Central and Northern Europe. Mannerist artists
began to reject the harmony and ideal proportions of the
Renaissance in favor of irrational settings, artificial colors,
unclear subject matters, and elongated forms. Notable
artists of this period are Jacopo da Pontormo, Parmigianino,
Bronzino, Jacopo Bassano, Benvenuto, Cellini,
Giambologna
b. Baroque is an art history that began at the beginning

of the 17th century and continued to evolve until the 18th
century. The place or origin was in Italy but later spread to
most countries of Europe, and to the colonies of the
Americas. The term Baroque, derived from the Portugese
‘barocco’ meaning ‘irregular pearl or stone’, is a movement
in art and architecture that emphasizes dramatic,
exaggerated motion and clear, easily interpreted, detail to
produce drama, tension, exuberance, and grandeur.
Popular artists of this period are Caravaggio, Peter Paul
Rubens, Rembrandt van Rijn, Diego Velázquez, and Nicolas
Poussin.
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7. Racoco Arts a. Racoco is a style in interior design. This art includes the
decorative arts, painting, architecture, and sculpture
and Neo- which began in Paris in the early 18th century but was soon
Classicism adopted throughout France and later in other countries,
specifically Germany and Austria. The word, Racoco, is
derived from the French rocaille, which denoted the shell-
covered rock work that was used to decorate artificial
grottoes. Artists of this period are Jean-Antoine Watteau,
François Boucher, Jean-Honoré Fragonard, Maurice-
Quentin de La Tour, Luis Paret y Alcázar, Giambattista
Tiepolo, Jean-François de Troy, Élisabeth Louise Vigée-Le
Brun, William Hogarth.
b. Neo-classicism, which was developed in Europe in the

18th century, is a revival of the classical past. This form of
art started when Greek and Roman antiquity and painters
of the Renaissance were imitated by artists as a reaction of
the Baroque’s and Racoco’s excessive style. There was
increased fascination and curiosity for antiquity which led
artists to create their own “new” classical style, using their
new knowledge of past in their art. The primary
Neoclassicist belief was that art should express the ideal
virtues in life and could improve the viewer by imparting a
moralizing message. It had the power to civilize, reform,
and transform society, as society itself was being
transformed by new approaches to government and the
rising forces of the Industrial Revolution, driven by scientific
discovery and invention. Artists of this period are Antonio
Canova, Benjamin West, Anton Raphael Mengs , Jean-
Antoine Houdon, Angelica Kauffman, John Flaxman, and
Gavin Hamilton.
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8. Romantic- a. Romanticism spans over a period from the late 18 th
century to the mid-19 century. This form of art is an

ism and Realism
th
attitude or intellectual orientation which was

Arts characterized by many works of literature, painting, music,
architecture, criticism, and histography in Western
civilization. It is observed as a disagreement of the
precepts of order, calm, harmony, balance, idealization,
and rationality that exemplified classicism in general and
late 18 century Neoclassicism in particular. Romanticism
th
embraced individuality and subjectivity to counteract the

excessive insistence on logical thought. Artists began
exploring various emotional and psychological states as
well as moods. The preoccupation with the hero and the
genius translated to new views of the artist as a brilliant
creator who was unburdened by academic dictate and
tastes. Some popular artists of this time are Henry
Fuseli, William Blake, Francisco Goya, Caspar David
Friedrich, Eugène Delacroix, J.M.W. Turner
b. Realism, which was an artistic movement that began in
the 1850s, rejected the dominated French literature and
art of Romanticism. “Real” contemporary people and
situations with truth and accuracy, including all the
unpleasant or sordid aspects of life were what realists
sought to portray. People of all classes in ordinary life
situations, which often reflected the changes brought
about by the Industrial and Commercial Revolutions, were
depicted. Notable artists of this period are Gustave
Courbet, Jean-François Millet, Édouard Manet, James
Whistler, Ilya Repin, Thomas Eakins, Jules Breton.
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9. Impression- a. The term impressionism was derived from French

Impressionnisms. It is a major movement, first in painting and
ism and Post later in music that flourished principally in France during the
Impression-ism late 19th and early 20th centuries. A group of artists sharing
a set of related approaches and techniques produced
artworks comprising Impressionist paintings before about
1867 and 1886. Impressionist music conveyed an idea
through a wash of sound rather than a strict formal structure.
In painting, this movement used to refer to a group of artists
who made use of light brush strokes and less vibrant colors
in their work. Eventually, this movement influenced several
American artists between 1860 and 1900 to use daily scenes
as subject in their art. Notable artists of this period are
Frédéric Bazille, Paul Cézanne, Edgar Degas, Edouard
Manet, Claude Monet, Berthe Morisot, Camille Pissarro,
Auguste Renoir, Mary Cassatt.
b. Post Impressionism as an art movement
concentrated on the artists’ subjective visions, as artists
opted to evolve emotions rather than realism in their work.
Painting during this era transcended its traditional role as a
window onto the world and instead became a window
into the artists’ mind and soul. Groups which were
influences by the far-reaching aesthetic impact of this
movement arose during the turn of the 20th
century. Some of the notable artists of this period are
Paul Cézanne (known as father of Post-impressionism), Paul
Gauguin, Vincent van Gogh, and Georges Seurat.
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10. Symbol-ism, a. Symbolism, which is also known as Synthetism, was

an important move away from the naturalism of the
Nouveau, and Impressionists. It showed a preference for feeling over
Fauvism intellectualism. The period spans from around 1885 and
continued until 1910. Notable artists of this period are
Gustave Moreau, Olidon Redon, James Ensor, Jan Toorop,
Edvard Munch, and Gustave Klimt.
b. Nouveau which is a French term meaning “new
art,” was popular between 1890 and 1905. This movement
first appeared in a Belgian art journal in 1884 to describe
the work of twenty progressive artists called Les Vingt.
These artists responded to the theories of architect
Eugène-Emmanuel Viollet-le-Duc and British critic John
Ruskin, who advocated for the unity of all arts, as well as a
reaction to historicism. This movement is characterized by
the use of winding lines, organic forms, and asymmetrical
lines. The arrangement of elements particularly patterns
and rhythms depict a highly decorative outcome. Some
popular artists of this movement are William Morris, Aubrey
Beardsley, Gustav Klimt, Antoni Gaudí, Henri de Toulouse-
Lautrec, Alphonse Mucha, Henry van de Velde.
c. Fauvism is a style of painting that became popular
in France and was formed around friendships between
artists around the turn of the 20th century Fauve artists
painted directly from nature with works invested. With a
strong expressive reaction to the subjects portrayed.
Though this art movement was highly fashionable, it was
short-lived for it lasted only a few years, 1905-1908. Two
popular artists of this period are Andre Derain and Henri
Matisse.
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11. Cubism, a. Cubism as an artistic movement made its debut

Futurism, and in 1907 and ended in 1912. It was a movement that
used techniques and ideas influencing many creative
Dadaism
disciplines. Perspectives, which had been used to
depict space since the Renaissance, were
abandoned by the artists. The artists also turned away
from the realistic modeling of figures. Known cubists
are Pablo Picasso, Georges Braque, Juan Gris, Albert
Gleizes, and Henri Laurens.
b. Futurism which was derived from the Italian
Futurismo, was an artistic and social movement that
started in the early 20 century. It focused on progress
th
and modernity, sought to sweep away traditional

artistic notions, and replaced with an energetic
celebration of the machine age. Known artists of this
period are Artists: Umberto Boccioni, Carlo Carra,
Giacomo Balla, Giorgio Morandi, and Primo Conti.
c. Dadaism, which was invented by refugee artists
and intellectuals from European capitals beset by
World War I began in the mid-1910s in Switzerland and
spread across Europe and into the United States, which
was a safe haven for many writers during World War I.
Though influenced by Cubism, Futurism, and
Expressionism, Dadaism grew out of anger over the
proponents perceived as an unjust and senseless war.
This anti-war politics art movement made its way to the
world through art manifestoes, literature, poetry and
eventually graphic design and the visual arts. The
characteristics of this movement includes, but not
limited to, the use and reinterpretation of available
materials or existing artwork. Known artists of this
movement are Henri-Robert-Marcel Duchamp,
Salvador Dali, Joan Miro, Man Ray, Francis Picabia,
Max Ernst, and Hans Arp.
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12.Surrealism Arts,
Constructivism and
a. Surrealism, which emphasis was on positive
De Stijl Arts expression, was a movement formed as early as 1917
in Europe between World Wars I and II as a reaction
against what its proponents saw as the destruction
brought about by “rationalism.” In a surreal painting,
objects are arranged in a seemingly fantastical
manner. Notable surrealists are Andre Breton, Jean
Arp, Max Ernst, Andre Masson Rene Magritte,
and Luis Bunuel Salvador Dali. Luis Buñuel pioneered
Surrealist cinema through his film, Un Chien Andalou
(1929, That Obscure Object of Desire (1977),
becoming the filmmaker who most successfully
achieved the movement's goals of liberation from
linear, logical narrative.
b. Constructivism, which rejected the idea of autonomous
art, was an artistic and architectural philosophy that
originated in Russia beginning in 1913. Its goal is to
“construct,” thereby emphasizing on building and science,
rather than artistic expression. Popular artists of this
philosophical movement are Vladimir Tatlin,Alexander
Rodchenko, Varvara Stepanova, Liubov Popova, and El
Lissitzky.
b. De Stijl, which sought laws of equilibrium and

harmony applicable both to art and to life, worked on
abstract style and originated in Holland in 1917. The Dutch
developed a style with proposed ultimate simplicity and
abstraction through which they could express a Utopian
idea of harmony and order. Artists of this style are Piet
Mondrian, Vilmos Huszár, Bart van der Leck, Theo van
Doesburg, Gerrit Rietveld, and Robert van 't Hoff.
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12. Abstract The term, Abstract Expression, was coined to

Expression-ism Art describe works by expressionists in Germany
specifically the work of Vasily Kadinsky or otherwise
spelled as Wassily Kadinsky. It was in 1946 that the
term was later applied to American art by Robert
Coates, an art
critic.
Hudson River Landscape by David Smith,
1951.
Image from Museum of Modern Art
Abstract Expressionists in New York conveyed their
art in varying degrees of abstraction like the use of
broken lines, strong colors and from emotional to
expressive content. Abstract expressionist qualities
are also evident in other forms of art such as in
sculpture and photography. Notable abstraction
expressionists are Jackson Pollock, Willem de
Kooning, Mark Rothko, Barnet Newman, Clyfford
Still, Aaron Siskind, David Smith, and Ibram Lassaw.
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13. Optical a. Optical art, which is comprised of illusion and often

appears to the human eye to be moving or breathing due
Art and Pop Art to its precise, mathematically-based composition,
emerged in the 1960s. Optical art, as official movement,
has been given a lifespan of around three years. It is in
print and television, in LP album art, and in fashion motif in
clothing and interior design where optical art can be
seen. Optical artists are Victor Vasarely, Bridget Riley, and
Peter Sedgley.
b. Pop art, which presented a challenge to traditions
of fine art by including imagery from popular mass culture,
emerged in the mid-1950s, in Britain and in the late 1950s in
the United States. This art comprises advertising, news,
comic books, and mundane cultural objects. The art was a
reaction to the seriousness of Abstract Experiment Art.
Notable Pop artists are Andy Wharhol and Roy
Lichtenstein.
Have you seen any of the art samples above before? Were they used as an example
for a lesson or were they appropriated?
Art can inspire another art. This idea is evident in the works of Dadaists and Pop artists.
Most of their works were inspired by an existing object or art. Do you consider this
stealing? Well, in the artworld, there is such a thing called borrowing and
appropriation.
According to Oxford English Dictionary, art appropriation is the making of a thing

private property; taking as one's own or to one's own use”. In the visual arts, the term
appropriation often refers to the use of borrowed elements in the creation of new
work. Images, forms or styles from art history or from popular culture, or materials and
Page 107 of 159
techniques from non-art contexts. Since the 1980s the term has also referred more
specifically to quoting the work of another artist to create a new work.
Types of Appropriation
1. Object appropriation 3. Style appropriation

2. Content appropriation 4. Motif appropriation
5. Subject appropriation
1. Object Appropriation
It occurs when the possession of a tangible work of art is transferred from members
of one culture to members of another culture.
Examples:
Ifugao huts transferred to manila or other places
Cordillera antiques in the different museums across US
The parthenon by Lord Elgin
An Ifugao Hut
2. Content Appropriation
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It could be a musical composition, a painting, a story, or a poem. An artist has

made significant reuse of an idea first expressed in the work of an artist from
another culture.
Examples:
Cordilleran country songs patterned from the west

Starry Night by Don Mclean
Other examples of content appropriation through photography:

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Image by SLU GART Student 2019
3. Style Appropriation
Style appropriation happens when artists produce works with stylistic elements in
common with the works of another culture.
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Examples
• Musicians who are not part of African- American culture but who compose
original jazz or blues
• Mainstream Australians who paint in the style of aboriginal peoples
4. Motif Appropriation
Motif appropriation is related to style appropriation but only basic motifs are
appropriated.
When artists are influenced by the art of a culture other than their own without
creating works in the same style
Example: Picasso’s motif appropriation
5. Subject Appropriation
Subject appropriation happens when artists appropriate a subject matter, namely

another culture or some of its members.
Despite a clear boundary between stealing and appropriation, several issues regarding
this method of art making yet arise.
Reflect on the works of Dadaist and Pop Artists. What do you think are some
issues that might arise because of borrowing and appropriating works of art?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
___________________________
______________________________________________________________________________
______________________________________________________________________________
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_________
TASK 2: Artworks are steaming with inspiration. Use the artwork you have chosen in Unit 3
of Module 1 for you to appropriate. Follow the steps below to accomplish this task and
be guided by the rubric.
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Guidelines:
1. Reflecting on the meanings you have constructed from the previous task, do
additional research on the narrative or story behind the artwork to avoid
misappropriating it.
2. Using the concept of borrowing, recreate the artwork through a photograph.
3. Make yourself the subject or part of the subject in your photo appropriation. Use
the samples under Content Appropriation as a guide.
4. Make sure to also recreate the background (not applicable if the original artwork
is a sculpture) and the other objects/props (fixtures, clothes, accessories, etc.) in the
original artwork. You may modernize or re-contextualize the background and the
objects/props. DO NOT just edit or layer yourself on the background of the original
artwork.
5. Create your own title for the photo appropriation.
6. Place the source/inspiration beside your photo appropriation. Encode the

information (title, artist, year of creation, and online reference) of the original artwork
below it. Place your appropriated title, your name as the artist, and year of creation
below your photo appropriation.
7. Together with the art movement which the artwork belongs to, incorporate your
output from the previous task.
8. Use the template below.
9. Submit the task as a PDF file to avoid shifting of objects or changes in your layout.
For CBL students, label and save this file as TASK 4 the OTG.
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For OBL students, submit your task via Google Classroom. Always check your
stream to be updated of the submission deadline
Art Subject: _______________________________

Representational Method: _______________________________
Art Movement: _______________________________
Meanings:
Factual Meaning:
Conventional Meaning:
Subjective Meaning:
Rubric
10 8 5 1
Resemblanc The artwork The artwork The artwork has The artwork
e has a very has a close a slight has no
close resemblance resemblance to resemblance
resemblance to the original. the original. at all to the
to the original.
original.
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Creativity Student has Student has Artwork lacks Artwork lacks

taken the taken the creativity as creativity as
technique technique only a few most parts of
being studied being studied parts of the the artwork is
and applied it and has used artwork are not properly
in a way that source fairly appropriated
is totally material as a appropriated and re-
his/her own. starting place. and re- contextualized
The artwork is Most of the contextualized. .
properly artwork is
appropriated properly
and re- appropriated
contextualize and re-
d contextualized
.
Clarity The three Distinctions of Lacks No distinctions
levels of the three levels distinction in are made
meaning are of meaning the three levels
distinctively are vaguely of meaning
discussed. discussed.
Depth of Information is Two to three Four to five Six or more
Content complete. pieces of pieces of pieces of
Explanations information information are information
of meanings are missing. missing. are missing.
are extensive Explanations of Explanations of Explanations of
stating the meanings are meanings are meanings are
visual cues adequate. somewhat lacking.
where the Some visual adequate. Few Explanations
meanings are cues are visual cues are use very few to
drawn. They present in the present in the none of the
reflect a deep explanations. explanations. visual basis.
understanding They reflect a
of the topic. fair
understanding
of the topic.
References:
Kleiner, F. (2012). Gardner's AH through the ages: A concise history of western ad. Belmont,
CA, Wadsworth.
Kleiner, F. (2016). Art through the ages: A global history (15th ed.). Boston: Cengage
Learning.
Ortiz, M. A., Teresita, E., Guillermo, A. Montano, M. and Pilar, S. (1976). Art: Perception and
appreciation. Manila: University of the East.
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Medium – Art Term | Tate. Tate. Retrieved 13 August 2020, from

https://www.tate.org.uk/art/art-terms/m/medium.
Young, J. O. (2010). Cultural appropriation and the arts. John Wiley & Sons
https://www.pinterest.ph/pin/559572322446599895/
https://www.google.com/search?q=motif+appropriation+of+picasso&oq=motif+appro
priation+of+picasso&aqs=chrome..69i57.9456j1j8&sourceid=chrome&ie=UTF-8
https://time-com/3879943/lascaux-early-color-photos-of-the-famous-cave-paintings-france-
1947/
https://smarthistory.org/standard-of-ur-2/
https://www.livescience.com/28937-giza-pyramid-archeology.html
https://www.shutterstock.com/search/myron
https://www.shutterstock.com/search/colosseum
https://www.artsy.net/article/artsy-editorial-things-hokusai-creator-great-wave
https://www.thoughco.com/the-alhambra-9138628
https://employees.oneonta.edu/farberos/arth/arth213/duccio.html
http://www.artcyclopedia.com/artist./michelangelo-buonarroti.html
https://www.google.com/search?tbm=isch&q=christ+carrying+cross&chips=q:christ+carryng+
cross,g_1:renaissance:42FAGfLXIpw%3D&usg=AI4_-
kQ04JL0LnBhA4TguMCtbEFRpfqVpw&sa=X&ved=ahUKEwj2sp3xi9zjAhWVad
4KHfdsBuAQ4lYILSgB&biw=1511&bih=640&dpr=0.9
https://smarthistory.org/tag/prehistoric
https://www.encyclopoedia.com/lsiterature-and-arts/art-and...art-1599/egyptian-art
https://www.oxfordbibliographies.com/view/.../obo-9780195389661-088.Vml
www.visual-arts-cork.com/history-of-art/primitivism.htm
https://courses.lumen/lkearning.com/boundless-arthistory/chapter/introduction-to-
ancient-egyptian-art/
www.arthistory.net/greek-art/
https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/beginners-guide-
rome/a/ introduction-to-ancient-roman-art
https://www.historyfor.net/ancient-chinese-art.html
www.scholastic.com/browse/article.josp > id-3753875
https:/www.insidejapantours.com/blog/2018/09/11/guide.traditional-japanese-art/
https://www.artjapanese.com/brief-history-of-the-japanese-art.php
www.arthistory.net/medieval-art/
https://www.britannica.com/art/renaissance-art
https:/museum.org/mannerism/history-of-mannerism
https://study.com/academy/lesson/historical-origins-of-baroque-art-in-the-1600s.html
https://www.britannica.com/art/racoco
https://useum.org/neoclassicism/history-of-neoclassicism
https://courses.lumenlearning.com/boundless-arthistory/chapter/realism
https://www.britannica.com/art/impressionism-art
https://www.theartstory.org/movement-post-impressionism.htm
https://www.artmovements.co.uk/symbolism.htm
www.designhistory.com/18560/art-nouveau/
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https://www.britannica.com/art/fauvism
https://www.artmovements.co.uk/expressionism.htm
https://mymodemmet.com > art > Art History
https://www.thartstory.org/movement-futurism.htm
https://www.thoughtco.com/what-is-dada-182380
https://www.britannica.com/art/surrealism
https://www.theartstory.org/movement-constructivism-htm
https://www.widewalls.ch/de-stijl-neoplasticism
https://www.moma-org/learn/moma-learning/themes/abstract-expressionism
https://www.thoughtco.com/what-is-op-art-182308
https:/www.ducksters.com/history/art/pop-art-ph
MODULE 5:
THE MIND AND WORK OF AN ARTIST
The average people shun away from the unknown. They cower from difficulties and
uncertainties in their lives, so they escape either from confusion and discomfort by
scampering into the dark cave of unknowing. In time, they stick rigidly to established
beliefs or norms, which eventually hamper their inner transformation. To be in that
scenario is debilitating, for it deprives people from realizing their potentials and all the
other possibilities that they may achieve in their lives.
To young people like you where the many roads of life are yet to be discovered and
explored, the seven Da Vincian principles can serve as your guide to help awaken the
same traits Leonardo Da Vinci celebrated within himself in you. These principles are
consciously and unconsciously practiced by artists.
Art is everywhere. We get to experience either the pleasure they give or the purpose
they serve. All these artworks and crafts are vehicles for the creators’ feelings and ideas.
To familiarize yourself with the creators of these arts and crafts, study the six photos then
find the similarity based on the actors’ creations, activities, and materials. Classify these
photos into two. Write the letters of the photos below.
A. B.
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www.linktv.org
C. D.
nowbali.co.id www.aidtoartisans.org
E. F.
www.bluespicedesign.com automation-home.uk
GROUP 1 GROUP 2
_________________________ ________________________
_________________________ ________________________
_________________________ ________________________
What made you decide to classify the first group and the second group? Based on your
answers, differentiate both groups.
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
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___________________________________________________________________________
Works of art were and are created to serve a specific function. Houses are built to shelter
people from the harsh effects of the weather. In the Cordilleras, the gongs or gangsa is
used primarily to create a certain beat harmoniously in accord with the other cultural
instruments. Each work we see and come across with were created by specific individuals
or groups.
Oftentimes, the term artist and artisan are interchanged. Dana (2017) gave a
clear distinction between the two. She states that an artist is into the fine arts-painting,
sculpture, illustration, including those into film making, poetry and short stories. Lacy (1995)
created a spectrum of artist’s roles:
artist as artist as artist as artist as

experiencer reporter analyst activist
On the other hand, an artisan is a skilled worker that uses his hands to make
something often functional or that will enhance something else: furniture, gold, leafing,
decorative arts (like faux finishes), jewelers, upholstery, embroidery, glassblowers, leather
workers (like shoemakers, potters, and weavers.
In the previous section, you were able to understand the differences between an artist
and artisan. This time, you will be looking into the life and work of Leonardo Da Vinci. Is
he an artist or an artisan? What does he have to say when it comes to art making? Read
on!
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Drawing on Da Vinci's notebooks, inventions, and legendary works of art, acclaimed

author Michael J. Gelb, introduces the seven Da Vincian principles, the essential
elements of genius. These principles provide readers inspiring and inventive guide on
how to develop their full potential.
They are discussed in detail in his book, “How to Think like Leonardo da Vinci: Seven Steps
to Genius Every Day.” Each principle is in Leonardo Da Vinci’s Italian language. In the
book, Michael Gelb introduces the power of the human brain, the life of the Da Vinci
and the Renaissance Period as characterized by a surge of creativity and innovations.
He then explains the 7 Da Vincian principles derived from studying Leonardo’s life and
work.
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On ARTE/SCIENZA
Michael Gelb emphasizes that we are whole. We have one full brain, not half a brain,
and we won’t be able to experience the full capacity and power of our super-computer
mind unless we embrace and start using our entire head—and not just the limited half we
are more comfortable with or socially defined by.
He writes, “Left-brainers think, ‘I'm sorry, I'm left-brained. I can't possibly be creative or
imaginative.’ And right-brainers make the mistake of programming themselves: ‘Well, I'm
right-brained—I can't possibly come to meetings on time.” Do not get boxed into thinking
we are predominantly wired to either imagination OR logic.
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www.platform505.com
Who would you be without your other half?
So, was Leonardo a scientist who studied art, or an artist who studied science?
Clearly, he was both. His scientific studies of rocks, plants, flight, flowing water, and human
anatomy, for example, are expressed in beautiful, evocative, expressive works of art, not
dry technical drawings.
He was ambidextrous and would often switch between his right and left hand
while painting, drawing or writing. His embrace and practice of whole-brain thinking led
to another gift he left for the modern intellect—the concept of “brainstorming.” Creative
thinking as we now know it, did not exist at that time.
Da Vinci had a unique quality of seeing the art in science and science in the arts.
You can also learn to connect the right and left brains through a powerful exercise called
mind mapping. Leonardo suggested going “straight into nature” to find understanding
and clarity. Everything in nature is made up of networks of sinuous, branched, and
nonlinear paths.
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Mind mapping is a way to link ideas and information naturally without immediate
need for sequential organization.

What is a mind map? How is the process of mind mapping done?
A Mind Map is a visual thinking tool that can be applied to all cognitive functions,
especially memory, learning, creativity and analysis. Mind Mapping is a process that
involves a distinct combination of imagery, color and visual-spatial arrangement. It
encourages whole brain thinking as it brings together a wide range of cortical skills from
logical and numerical to creative and special.
If you like to watch a mind mapping presentation, watch Tony Buzan’s video on How to
do mind mapping from this site: https://www.youtube.com/watch?v=u5Y4pIsXTV0
When creating a Mind Map, there are several elements to consider including the map’s
central image, branches, colors, keywords and images.
Steps to Creating a Mind Map

Mind Maps can be drawn by hand or using software such as iMindMap
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Here is how a mind map works:

Instead of generating your ideas by outlining them in order:1,2,3,4…(rational, left-brain
Grinch)and then getting distracted or stuck after#1 and doodling on the side of your
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notes(artistic, right-brain Grinch),which will considerably slow you down, consider doing
it all, at the same time:
“It is just plain illogical to try to organize your ideas before you’ve
generated them,” says Gelb. “Moreover, outlining and other linear note-
making systems exclude your brain’s capacity for color, dimension,
synthesis, rhythm, and image…Outlining uses only half of your mind and
half a mind is a terrible thing to waste.”
TASK 3: From the previous section, you were able to get to know an extraordinary artist
who made a mark not only in his own place of origin but also in the world. Most artists
and artisans are self-taught or self-trained. They may not be well-known around the world,
but they are acknowledged and loved in their own community for they give invaluable
contributions.
With this, try to have a list of LOCAL artists or artisans. They may be from your province or
your favorites. They may also be artists/artisans you like to discover or get to know about.
From among your prospects, pick one and research on his/her portfolios, works,
techniques, and others. You are going to present these details of information about your
chosen artist/artisan through a MIND MAP. In the mind map, be guided by the following:
a. The center of the map should be the picture of the artist/artisan and his/her name.
b. There shall be four main branches:

one - for the general information about the artist/artisan;
two - for his/her techniques;
three - for his/her inspiration in his/her works;
four - for his/her sample artwork (with picture).
c. From each main branch, draw baby branches where you indicate the details
to support your main branch.
For other details on how to create a mind map, refer to the module.
Your output will be scored using the criteria below:
A. Content
1. The concepts are written in one to two words (10 points)
1. Correct branching out of ideas (10 points)
2. Interconnectedness of ideas (10 points)
3. Completeness (10 points)
B. Design of mind map (5 points)

C. Promptness (5 points)
TOTAL: 50 points
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References:
Book Summary: How to Think Like Leonardo Da Vinci: 7 Steps to Genius Everyday
by Michael Gelb. Reading Graphics.
Heydenreich, L. (1947). Leonardo Da Vinci.: Italian artist, engineer, scientist.
Director,Central Institute for the History of Art,Munich,1947–70. Author of
Leonardo da Vinci;Leonardo architetto.
Jones, A. (1989). Soul making: The Desert way of spirituality. HarperSanFrancisco.
ISBN: 0060641797
How%20to%20Mind%20Map%20_%20iMindMap%20Mind%20Mapping.html
https://www.britannica.com/biography/Leonardo-da-Vinci
https://www.spiritualityandpractice.com/book-reviews/view/9274/soul-making
Matravers, D. (1998). Art and Emotion. Oxford University Press. ISBN(s)
0199243166 9780199243167 https://philpapers.org/rec/MATAAE
https://www.12manage.com/methods_herrmann_whole_brain.html
https://singularityhub.com/2017/11/08/how-to-think-like-leonardo-da-vinci-and-
unlock-your-creative-potential/
https://healthymemory.wordpress.com/2014/07/02/the-seven-da-vincian-
principles/
https://www.tam-awanvillage.com/artist/jordan-mang-osan/
https://momentsjournal.com/filipino-artist-jordan-mang-osan-solar-drawings/
https://www.destig.com/destig-daily/jordan-mang-osan-the-artist-who-
harnesses-the-power-of-the-sun-to-create-pyrography-drawings
https://www.youtube.com/watch?v=OHjnjbER7gI
Life on the Island. (2013). Artists and Artisans: What’s the difference
between an artist and artisan? Retrieved from Bali/Life on the Island NOW
website:
https://nowbali.co.id/artists-and-artisans-what-s-the-difference-between-an-
artisan-and-an-artist/
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MODULE 6:
TEXTILE ART AND EMBEDDED CULTURE
When buying clothes, which of the following do you consider first? Why?
A. Price
B. Type of cloth material
C. Design
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_________________________________________________________
“You Are What You Wear”
When we see a person wearing a g-string, or a malong, or a kimono, or even a

patadyong, we oftentimes associate such clothing to the place where it came from.
Let us first find out how familiar you are with the different cloths/textile designs from the
various regions by answering the activity that follows.
Match the cloth/textile to its place of origin.
1. Abra A. Bagobo Inabal

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Image from https://nolisoli.ph/26741/philippine-weaves-

habi/
2. Ilocos B. T’nalak

habi/
3. Davao del C. Inabel
Sur
Image from https://www.nardas.com/cordilleran-weaving-

culture/
4. Basilan D. Sinaluan
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habi/
5. South E. Pinilian
Cotabato

habi/
ph.asiatatler.com/life/weaving-the-threads-of-filipino-heritage
Textiles are a reflection of the traditions, ways of life, resourcefulness, and

worldview of the people weaving and wearing them in usually-vibrant and harmonious
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colors of their immediate environment. Therefore, studying textiles exposes one to the
richness and aspirations of our cultures.
In addition, people come into contact with textile art every day, from the clothes
they wear to the objects they use to decorate their homes. It is an art that can be
simultaneously beautiful and useful. This form of art is one of the oldest in human
civilization. At its inception, it was not focused on looks, but for practical purposes such
as clothing or blankets to keep warm. For example, in the Cordilleras when blankets were
still not available commercially, the people made use of the bark of trees which they
processed into what resembled a blanket to keep them warm during the night.
In this part of the lesson, you will learn about the textile designs from the different
regions in our country. Such design or art has a special meaning to the people who use
them. Discover the special art found in each of these textiles and appreciate its cultural
significance.
We will start with textiles found in the different CAR provinces before those from
the other regions in the country.
Textile Art from the Different Provinces in the Cordillera
Textile art is the process of creating something using fibers gained from sources like
plants, animals, insects (like silkworms), or synthetic materials. One way to make such art
is through weaving. Weaving is a method of fabric production in which two distinct sets
of yarns or threads are interlaced at right angles to form a fabric or cloth. Traditional
weaving in the Cordilleras was intricately a part of ritual life. Certain textiles embodied
magical functions such as protection from harm, or symbolized status and wealth.
Important individuals (kadangyans) were buried with their prized blankets. It is said that
the more blankets, hence more thread counts, was a deterrent from malevolent spirits
getting into the spirit of the deceased.
In the Cordillera region, there is a rich tradition of weaving that goes back several
centuries. Each of the different indigenous communities in the region possesses a unique
weaving technique, with the resulting forms and patterns dictated by distinct religious,
socio-political and artistic origins, functions and values.
The Cordilleras, largely inaccessible to Spanish missionaries, remained animistic

until the United States acquired the Philippines from Spain and became the focus of
Anglo-Saxon conversion to Protestant and Anglican denominations. Baguio, the
American summer capital, although the first indigenous population to be acculturated
to the Anglo-Saxon culture in the Cordilleras and served as a model by American
civilization process, kept its weaving tradition intact.
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The following are examples of weaving patterns that exhibit a particular textile
art from the different provinces, although one may find other weaving patterns from the
province mentioned:
A. Bontoc Textile (Mountain Province)- Bontoc textile has traditional colors and motifs
which include geometric shapes of things around them such as man, lizard, mountain,
rain and flower. The siniwsiwan is Bontoc’s blanket and clothing. The fabric is used for
wanes (g-string for men) and lufid (tapis for women). Married women oftentimes wear a
belt called ginaspala wanes with inawin design composed of continuous zigzag design.
The Bontoc textile revolves around the idea of centeredness, which symbolizes
permanence, order, and balance, key factors in the life of the Bontoc people. Weavers
demonstrate this idea through the direction of their weave, from the edge to the middle,
to the symmetry of the cloth construction and the repeated warp-striped design.
Bontoc weavers learn the craft through various stages. Young Bontoc girls usually
start their training with the simplest part of the cloth, the langkit or edging. Next, they
move on to pa-ikid (side panels), learning simple designs such as fatawil (warp-bands)
and shukyong (arrows). After mastering this level, they move on to the most challenging
part, the sinangad-am design which represents the Sinamaki weaving. Here, they
incorporate designs on the bands such as tinagtakho (human figure), minatmata
(diamond), and tinitiko (zigzag). The pa-khawa (the center panel) is the next thing they
have to master. The center panel features a band in the middle and a kan-ay
(supplementary weft) at its end.
Because of the complex process of adding the kan-ay, the center panel would
be woven last. When all the parts are ready, they would be sewn together in the reverse
order of their creation, ending with the langkit.
Image from https://www.nardas.com/cordilleran-weaving-culture/

Figure 1: Bontoc (Mountain Province)
B. Kalinga Textile- The Kalinga gilamat (ginamat)- Kalinga textile is characterized by

dominant red stripes and motifs of geometric patterns as well as symbols interlaced with
white, yellow, and black fibers. The gilamat ka-in is commonly used among women as
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skirt. Its colors indigo and red symbolize the sky and the ground. The yellow portion is
embroidered and depicts mountains. This color also symbolizes wealth, as do the
embroidered plants that refer to growth and fertility. Furthermore, Kalinga textiles exhibit
motifs executed as though they are embedded in the geometry of weaving itself. It has
a distinct dialogue between red and blue, expressing itself in broad red and blue bands
of plain or twill weave, and creating densely-composed groups of tight stripes. The
Kalinga weavers, particularly in the upper Kalinga area, put textures on the striped bands
using twill-weave technique. Tiny motifs, patterns, and embellishments have
characterized Kalinga textile, including miniature lattice, continuous lozenge pattern
locally called inata-ata, and pawekan or mother-of-pearl platelets, among others.

Figure 2: Kalinga
C. Abra textile- Textile from this province are dyed using natural dyes from plants:
mahogany for red, jackfruit and ginger for yellow, the malatayum plant for indigo and
the narra tree for brown, among others. One common design in their fabric is the frog,
which is traditionally worn during the rainy month in the belief that this will please the gods
and their ancestors in giving them the best out of the planting season.
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Figure 3: Abra
D. Benguet Textile- The early people of Benguet actually used ethnic blankets woven by
the Ilocanos of Tagudin and Bangar, Ilocos Province. Contrary to the present
generation’s notion that ethnic blankets are only used for death-related rituals and
ceremonies, the early Benguets used blankets daily. These blankets have different names
and kinds depending on their owner’s status, age and gender. This was revealed through
a baseline study by Erlinda Alupias, Betty Gayao, Dalen Meldoz and Jaila Sagpa-ey titled
“Improving the Textile Industry in Benguet”. The study showed that the lifestyle of the
Benguet people since the early 1960s was influenced by traders and migrants from the
lowlands who had more access to different kinds of blankets, clothes and other fabrics.
However, the original designs and figures have been lost in the memory of old folks and
even the Ilocano weavers because the knowledge was passed on orally until it became
a part of the culture of the Benguet Ibalois and Kankana-eys. This process is locally
termed as tinmaru-tarun. Since only the rich could afford the woven products from the
Ilocanos embroidered with different designs, the blankets became associated to their
status, hence the status blankets.
Benguet status blankets and clothing have a common combination of red, black
or dark blue and white or dirty white. The designs are figures of “x” and the eyelet design
may represent a shield, a man, and a snake. Genuine blankets can be determined by
the arrangement of the design like the snake sign being placed after the man. In the
case of the salibobo/sadipopo or bedbed, a headband used by rich old men or
community leaders, the design corresponds with the status blanket. Most often, the status
level is determined by the number of eyelet designs. If there are nine or 13 or 15 eyelet
designs, this is the corresponding number of animals to be butchered or have been
butchered in a cañao.
Blankets worn only by those who already performed certain steps of cañao are
called alahdang/alechang, pinagpagan, dilli/shengdi and kuabaw/sarong. Blankets
worn by the poor with simple designs are called bayaomg/kolebaw and bandala/safey.
Blankets like manta and mabli were used years later. Status blankets can be inherited or
acquired. There are areas in Benguet where people are particular in using ethnic
blankets that should be identical to what his/her ancestors used. In other areas, the
prestige of using status blankets may be attained after performing levels of cañao.
Historically, Benguet people wore g-strings made out of tree barks. When g-
strings made from woven cloth was introduced, those who can afford discarded their
tree bark g-strings. In areas near Metro Baguio like Atok, it was in the late 1940s
that kuba was seldom worn. In Kibungan, old men from the outskirt barangays stopped
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using kuba in the late 1980s. In Kabayan, men stopped using toto/kubal in the
1970s.There are no meanings attributed to the colors of the kuba. Generally, the kuba
worn by a man should be the kuba design worn by his forefathers. The kankana-eys
have several kinds of g-string: the baa, binoltong, pillac, pinangsas and sinulaman. For
the Ibaloi men, they have the pinangsas, padasan and donas.
The wrap around skirt worn by women is called devit or etten and the matching blouse
is called sa-dey, kambal and sambra. The designs are combinations
of bangkoro and kambayashu, combination of black, red and white stripes. At present,
people who still practice the old traditions prefer ethnic clothes made from pure
cotton. The clothes should also be loose because they believe that clothing that will be
worn by their dead relative must decompose with the corpse. Clothing with synthetic
materials takes longer to decompose. Because of this, it is believed that the spirit of the
dead would cause trouble for the living relatives.
E. Ifugao Textile- Ifugao ikat weaving is a style that uses a resist dyeing process before the
threads are woven to create a pattern or design. The result of this process is a motif which
is fuzzy in appearance. This textile is characterized by diamond stripes of white and red
stripes. In addition, the textiles depict traditional symbols of the Ifugao, pictograph
renderings that contain a history of meaning: s-like shapes denote the status of a
headhunter, diamonds represent ferns and x’s portray fish. One special textile is the
Ga’mong which is a funeral blanket used to cloak the corpse of the deceased and it is
not to be used for any other purpose.
Some of the most common designs found in Ifugao textile are the following:
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Textiles from Other Regions

1. ILOCOS Textile
Binakol
Origin: Ilocos and Abra
Also known as binakel, binakael, or binakul (Ilocano for “twill”) this is a variation of the
popular abel weave. Woven using pedal looms, its design is composed of interlocked
geometric patterns, resulting in an optical illusion despite its flat surface. The psychedelic
pattern represents the waves of the sea and protects against malevolent spirits by
confusing them.
Image from: https://nolisoli.ph/26741/philippine-weaves-habi/

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Pinilian
Community: Ilocano
Origin: Ilocos Region (also Abra)
A type of binakul weave that means “chosen” and uses a complicated brocade
weave where sticks are inserted on chosen warp (lengthwise) threads. These create
designs that “float” on the threads, giving the weave a three-dimensional quality.
Designs are mostly representative of nature and their environment.
Image from https://nolisoli.ph/26741/philippine-weaves-habi/
The Ilocano of northwestern Philippines is well-known for their handweaving, a

tradition with ancient roots, with the kapas or cotton as the main material.
They use the pedal loom, locally called pangablan; employ several weaving
techniques; and have numerous designs/patterns. Different weaving techniques include
the basic plain weave, the double-toned basket weave or binakul, and the multi-heddle
weave (binetwagan or tinumballitan), among others.
Among the complicated one is the brocade weave or pinilian, which uses sticks inserted
on selected warp threads to create designs that float on the threads.
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There are two kinds of pinilian: scattered and continuous supplemementary weft
techniques. The weavers of Pinili, Ilocos Norte, are said to be adept in the simultaneous
warp and weft-float type of pinilian called the impalagto, a technique unique in the
town.
2. AKLAN Textile
Piña
Community: Aklanon
Origin: Aklan
Considered the finest of Philippine textiles, the piña fabric is made from the fibers of the
leaves of the red Bisaya pineapple through an arduous process. The extraction of the
fibers is a most delicate and tedious process.
The leaves provide two kinds of fibers—the bastos or the rough fiber, and the
liniwan or the fine fiber. Using a shard of Chinese porcelain, the stripper removes the
epidermis of the leaf, exposing the lustrous bastos fiber. After stripping the leaves of the
rough fibers, the stripper then run a coconut shell on the inner layer of the leaf to expose
the liniwan.
The degumming process entails repeated rinsing, beating, and air-drying of the
fibers. When the fibers are completely dried, the weaver connects each strand through
knotting to produce long continuous strands before the weaving process, which uses the
pedal loom.
The Aklanons of western Panay Island are known for the piña with inlaid
supplementary weft designs or more often embroidered with floral or vegetal designs on
the lattice ground. Lumban in Laguna and Taal in Batangas are known embroidery
centres. The piña is the preferred material for the barong Tagalog.
3. PANAY Textile
Hablon
Communities: Kiniray-a and Hiligaynon
Origin: Panay Island
Hablon is Hiligaynon for “something woven,” from the root word habol, “to
weave”. It refers to the hand-woven textiles by Kiniray-a and Hiligaynon weavers.
In a Panayanon legend, ten datus from Borneo landed on Panay Island,

established settlements and ushered in an era of development. One of the legendary
datus was Datu Lubay, who is said to introduce the art of weaving textiles.
Weaving using the pedal loom had been common in the provinces of Iloilo and Antique
until the arrival of mechanised weaving. Now, there are very few places where traditional
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weaving is practiced, notable of these are Miag-ao in Iloilo and Bagtasan, Bugasong in
Antique.
The hablon is usually a plain weave and has plaid and striped designs. It is usually
used for the patadyong, the Visayan wraparound skirt, and panuelo.
Patadyong
Origin: Negros (Antique, Panay, Oton, Miagao, Ilo-ilo)
A type of hablon (Ilonggo term for woven material) that resembles the Mindanao
malong because of its tubular style that allows it to be worn a number of ways. The
weave is done by interlacing different colored threads through a wooden handloom
called tiral or habulan locally. The weave comes in either a plaid or checked design.
4. JOLO Textile
Tausug
Origin: Jolo
The traditional rivals of the Yakans in Sulu, the Tausug tapestry weaves make use
of a backstrap loom and also feature sacred geometries in their designs. The Tausug
people follow the Islamic prohibition of representing human and animal forms; thus, the
ukkil or abstract motifs in geometric shapes suggestive of the natural world.
Types:
Pis syabit and Kambut
A multi-colored headdress is traditionally worn by men that features symmetrical
geometric designs and represents the wearer’s rank in society. It can be draped over the
shoulder or tied around the hilt of the kris (sword). The kambut, on the other hand, is a
waist sash worn by men.
5. SARANGGANI and SOUTH COTABATO Textile
Mabal Tabih
Community: B’laan
Origin: Sarangani and South Cotabato
Tabih, in B’laan, refers to the native tubular skirt, and also to the textile, while mabal
means “woven” or “to weave”. The B’laan weave the tabih using abaca fibers and the
back-strap loom. The fibers are dyed using the warp tie-dye resist ikat technique and
natural dyes from native plants. Designs usually depict crocodiles and tiny curls. The
B’laan are also known to be accomplished embroiderers and the tabih is often
meticulously embellished with embroidery. A practice traditionally reserved to women of
high status, weaving has a strong spiritual context in B’laan society, believed to be the
gift from Furalo, the goddess of weaving. Aside from the tubular skirts, the abaca textile
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is used for making garment for men, as well as covering for important materials such as
knives.
6. DAVAO DEL SUR Textile
Bagobo Inabal
Community: Bagobo Manobo
Origin: Davao del Sur
The Bagobo, a subgroup of the Manobo, are expert in extracting the fibers of the abaca
from the leaf sheaths and selecting the very fine ones for weaving their textiles.
They use the back-strap loom for weaving inabal abaca fiber textiles with ikat-or tie-dyed
resist designs forming mother-and-baby crocodile figures in geometricised abstracted
forms. The dyestuffs are all extracted from plants in their surroundings. The finished abaca
fibers undergo a polishing process, using a smooth shell.
Beeswax, which is applied to the beater during the weaving process, adds to the sheen
during the finishing process. The Bagobo textile is usually used for making the native
tubular skirt, of which there are two types, sinukla and the bandira.
7. EASTERN MINDANAO Textile

Dagmay
Community: Mandaya
Origin: Eastern Mindanao
The Mandaya, which can be found in the provinces of Davao Oriental, Davao del
Norte, Compostella Valley, Surigao del Sur, and Agusan del Sur, have a strong weaving
tradition as seen in their coarsely textured dagmay, hand-woven using a special kind of
back-strap loom, made from abaca fibers, and following intricate designs revolving
around man and nature, specially the crocodile.
They use a mud dyeing technique. Used to obtain black, the technique is based
on the reaction between the tannins applied on the the yarn before treatment, and the
iron found on the mud. The bark of the tree, which contains tanninsm is pounded to a
pulp and boiled together with the abaca yarn. The mud is then added to the mixture.
The yarn is steeped for one to several hours for the best results.
Dagmay designs usually tell the story about the weaver and her community, as well as
the spirits that live on Earth. The dagmay is usually used for women’s skirt, but it is also used
as blankets or wraps for the dead.
8. LANAO Textile
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Mëranaw Textile
Community: Mëranaw
Origin: Lanao del Norte and Lanao del Sur
The Mëranaw of Lanao del Norte and Lanao del Sur know a wide range of weaving
techniques including the weft and warp ikat tie-dye resist and continuous and
discontinuous supplementary weft design.
They are known for the malong, a tubular lower garment. Among its several types,
the malong a andon is the most highly valued. This is followed by the malong a landap,
which is known for its tapestry bands called langkit, often used to join the broad panels
of silk together. Another kind is the malong a bagadat, made from similar wide bands in
contrasting colors and separated by narrow bands of warp ikat.
Made using a narrow, specialized kind of tapestry loom, langkit, usually comes in
two kinds: tabrian or the narrow panel, and lakban or the wider panel. Beautifully
designed, the langkit has distinct Maranao okir designs including potiok (bud), dapal or
raon (leaf), pako (fern), pako rabong (growing fern) and katorai (flower). These intricate
designs are made using discontinuous weft.
9. SULU Textile
Pis Syabit Weave

Community: Tausug
Origin: Sulu Archipelago
The Tausug women are experts in tapestry weaving and embroidery, while men
do the large hanings in appliqué. They specialise in the production of pis syabit (head
scarf) and kambot/kandit.
The pis syabit is traditionally worn by men and warriors. A most complicated design
technique, the pis syabit tapestry weaving of Tausug has no preset pattern sticks or pre-
designed warp yarns into which the weaver inserts the desert yarn.
The weaver has to clearly imagine the pattern in her mind as she inserts one
coloured weft yarn one at a time to fill up the space in the warp, in a sequence her mind
only knows. The weaver creates a perfectly symmetrical composition of squares and Xs
with hooks, and in seven to eight colors.
10. SOUTH COTABATO Textile
T’nalak
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Community: Tboli
Origin: South Cotabato
The traditional textile woven by the Tboli women, t’nalak represents birth, life, union
in marriage and death, and shows the uniqueness and identity of the indigenous group.
It is often utilized as blankets and clothing, and used in royal wedding ceremonies on rare
occasions.
The Tboli weavers are often called “dream weavers” but this applies only to a few
dedicated weavers. It is believed that the designs and patterns are bestowed on them
by Fu Dalu, the spirit of abaca, through their dreams.
The tedious creation of the t’nalak starts with extracting the abaca fibers, which
are them combed to remove the sap. They are connected from end to end, and knotted
and prepared for design prior to resist-dyeing, known as the ikat method.
A t’nalak traditionally has three colors: black, red, and white. The fibers are then
woven using the backstrap loom. The textile is then washed in the river, beaten with a
wooden stick to flatten the knots, and burnishing the surface with a cowrie shell.
The late Lang Dulay was widely regarded as one of the best weavers and was bestowed
the Gawad sa Manlilikha ng Bayan in 1998. Pictured here is one of her creations.
11. BASILAN Textile
Saputangan Tapestry Weave

Community: Yakan
Origin: Basilan
Known for being highly-skilled, with impressive weaving repertoires, Yakan

weavers produce textile with five different kinds of weaving, often differentiated by
technique, pattern, and function.
The bunga-sama is a supplementary weft weave, made by using pattern sticks or

heddles in the loom to produce the pattern. The colorful striped siniluan is characterized
by warp-floating pattern. Saputangan is a square cloth best known for its intricate and
rich design, involving optical illusion to create depth in the patterns. The inalaman is
made using an elaborate supplementary-weft technique, and often used for women’s
wraparound skirt. The pinantupan, which is also used for the wraparound skirt, utilizes
simple weft pattern arranged in the bands.
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The saputangan is an example of a tapestry weave, considered the oldest and

most traditional technique in producing ornamented woven textiles, aside from the plain
weave technique wherein stripes and plaids are formed.
The saputangan is worn by Yakan women in different ways depending on the

occasion such as elen-elen (for everyday wear), hap tabuan (for going to market) and
ginuna sipagkawin (worn like a veil when attending a wedding).
Types
a. Peneh pitumpuh
Literally translating to “70 designs/patterns,” the weave was originally reserved for
aristocrats and considered the most intricate. Only an expert can weave this tapestry
which includes all 70 designs within one meter of cloth featuring the kadjang (fairy wings)
or kabba kabba (butterfly).
b. Bunga sama
The highest level of Yakan weaves, its format consists of repetitive patterns, mostly
diamonds, meant to represent the continuity of the universe. However, the pattern is said
to have been inspired, as well, by the skin of the python.
c. Sinaluan
Flaunts a striped pattern that represents bamboo stalks and nature. The traditional fabric
is used as clothing, mostly pants, for men and women.
d. Saputangan
It is a square handkerchief used by the women as a headdress and worn in different ways
depending on the occasion.
Photo Credits:
Patrick Segovia of NOLISoLIPH
Tatler Asia Limited
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Compare and contrast the weaving designs from the different regions in terms of
symbol, theme, and influences
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
___________________________
Provide two reasons why these textiles are art. Explain your answers.
Reason 1:______________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
______
Reason 2:__________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_________________________________________________________________________
3. What do the textile designs, patterns and symbols tell about the Philippine
community in general?
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________
TASK 4: My Textile Art Interpretation

Create your own interpretation of the different textile arts by designing your own scarf.
Be guided by the rubric.
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Rubric for Textile Art Interpretation

Indicators and Rating
Drawings are Drawings are Drawings are Drawn objects
recognizable, recognizable recognizable are difficult to
detailed and and colored and recognize
colored accurately. reasonably AND/OR not
accurately. Overall, the accurate. accurate.
Overall, the drawings are They are
Drawings drawings are original and copied,
original and done with some printed or
skillful. skill. traced rather
15 points than original. 6 points
12 points
9 points
The artwork The artwork The artwork The artwork
has three has two has only one lacks
Balance designs/patterns designs/patterns design/pattern designs/patterns
and (examples: (examples: (examples: (examples:
Use of cross, lizard, cross, lizard, cross, lizard, cross, lizard,
Design mountain, etc.) mountain, etc.) mountain, mountain, etc.)
from the given from the given etc.) from the from the given
examples in the examples in the given examples in the
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module and module and examples in module. The

one or two own one or two own the module artwork seems
patterns. patterns. The and one own unfinished (too
Objects are design is pattern. much empty
placed for best relatively The artwork space) or there
effect. Overall, it balanced, but seems to have is not enough
just feels right. negative space a little too balance
could be utilized much between
10 points better to create background or foreground and
a more cohesive seems a little background
feel. too busy. causing it to
Balance has seem much too
8 points not been busy and
achieved. unfocused.
4 points
6 points
The artwork has The artwork has The artwork The artwork
been crafted been crafted has been looks hastily
with great care. with some care. completed, thrown together
The lines are Most lines are but it appears or like it was
sharp, colors sharp, colors a little messy. wadded up in a
clear, cutting clear, cutting Smudges, desk. It seems
crisp, and text crisp, and text drips, tears or quite messy.
Crafts-
aligned. No aligned. erasures
manship
smudges, drips, Smudges, drips, detract from
tears or erasures tears or erasures the overall
are seen. are few and do appearance.
15 points not detract.
12 points 6 points
9 points
The artwork has The artwork has The artwork The artwork has
been submitted been submitted has been been submitted
Prompt- on time. 1-2 days after submitted 3-5 six or more days
ness the due date. days after the late.
5 points 3 points due date. 0 point
1 point
TOTAL POINTS: 45 points
Explore exercise answer:

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1. C. 2. E. 3. A. 4. D 5. B
References:
https://www.bulatlat.com/2009/08/22/students-learn-about-benguet%E2%80%99s-
traditional-clothes/
https://www.nardas.com/cordilleran-weaving-culture/
https://lifestyle.abs-cbn.com/articles/5670/cultured-one-of-our-oldest-living-ifugao-
handweavers-will-inspire-you-to-love-local-more
https://www.vigattintourism.com/tourism/articles/Indigenous-Arts-and-Crafts
https://iasdr2019.org/uploads/files/Proceedings/vo-f-1273-Kel-R.pdf
https://nolisoli.ph/26741/philippine-weaves-habi/
https://ph.asiatatler.com/life/weaving-the-threads-of-filipino-heritage
(https://www.facebook.com/pg/ifugaoartsandcrafts/photos/?tab=album&album_id=3
336048189773162)
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MODULE 7
VARIOUS ART EXPRESSIONS
There are many ways to creatively express yourself. You may use music and improvisation
as your means for creative expression. Music is not a new-found concept. In fact, Barras
(2020) in his article for BBC claims that despite the recent invention and naming of
instruments, music is significantly older, citing reference to some archeological diggings
such as flutes and other similar objects. Interestingly, Montagu (2017) in his study, “How
Music and Instruments Began supports Barras’ claim. He adds that the earliest form of
music were sound emissions of earlier hominid that eventually developed into a more
complex form caused by the addition of instruments. He further claims that with the
addition of instruments to human sound, music had a more meaningful intention. The
combination of human sound and instruments were created for various purposes which
include dance, ritual, entertainment, and expression.
On the other hand, Improv is about teaching a person that it is ok to look foolish and say
silly things; that only by saying what is silly can get you to what is truly funny. The more you
trust yourself, the more amusing you can be (Tim Soter).
We marvel at the harmonious combination of sounds when we hear music.

Instrumental music has various effects on us. Let’s see how the following instrumental
music affects you. Use one adjective to describe how you feel about the following
music. Then, in two to three sentences, explain why.
Note:
• For correspondence-based learning, the files are stored in your flash drive.
Open the File Unit 4, Engage folder.
• For online-based learning, check the uploaded material in Google
classroom.
1. Symphony 5: _____________________(adjective)
Explanation:_________________________________________________________________________
_____________________________________________________________________________________
__________________________________________________________________________________
2. Claire de Lune:_____________________(adjective)
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Explanation:_________________________________________________________________________
_____________________________________________________________________________________
__________________________________________________________________________________
3. Canon in D:_____________________(adjective)
Explanation:_________________________________________________________________________
_____________________________________________________________________________________
__________________________________________________________________________________
4. Nocturne Op.9 No. 2:_____________________(adjective)

Explanation:_________________________________________________________________________
_____________________________________________________________________________________
__________________________________________________________________________________
5. Metamorphosis 1: _____________________(adjective)
Explanation:_________________________________________________________________________
_____________________________________________________________________________________
__________________________________________________________________________________
The above musical pieces were composed by world-famous composers, Beethoven,

Claude Debussy, Pachelbel, Chopin, and Philip Glass.
Now that you have immersed yourself with polyphonic sounds, you are now
ready to embark on a musical journey.
Instrumental music is basically a composition, recording of instruments, or combination of
sounds without lyrics or vocals. It may be easy to define the art form, but its rich history is
quite the opposite.
Despite its prevalence even during the primitive era, it was only after the
Renaissance that instrumental music had been institutionalized. When you hear an
instrumental composition that is slow or a combination of piano, violin, flute and other
instruments, you would most likely easily dismiss it as classical music. The table below will
help you grasp the different forms of western instrumental music.
Instrumental Music Years Characteristics Forms of Famous

Period Musical Composers
Composition
Baroque 1600- An era of Masses, Johann Bach
1760 enormous musical Concertos, Antonio
This term growth, Suites, Fugue, Vivaldi
originated in where music Fantasia, George
Portugal which theory and Toccata, Handel
meant misshapen functionality, Prelude. Henry Purcell
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pearl. Though as we know it Also: Corelli,

negatively today, was Albinoni,
understood, it created. It was Monteverdi
refers to how also during this
ornate and heavily period that
ornamented music instrumental music
was during the became equally
period. important as vocal
music.
The music was
light with a pulse
and
marked by
elaborate musical
ornamentation.
Classical 1730 – An era of increase Concertos, Wolfgang
1820 clarity following Sonatas, Amadeus
Julian Johnson the Baroque era. Symphony, Mozart
(2002) in his book, The music was Opera, Joseph
Who Needs marked by lighter, Requiem, Hayden
Classical Music, cleaner texture Theme and CPE Bach
states that and Variations, Trio, Also: Gluck,
classical music has was less Minuet, Clementi,
intrinsic aesthetic ornamented than Overture, Suites Dussek
value and that Baroque.
others assume this However, more
period in music as attention was paid
mere elitism and to
refinement due to dynamics, styles
level of and variation.
sophistication.
Romantic 1815- An era in music of Concertos, Ludwig Van
Romantic music is 1910 increased passion Sonatas, Beethoven
works composed and expression Symphony, Hector Berlioz
in the Romantic marked by the Opera, Johannes
style, which arose expansions of Requiem, Brahms
during the music theory and Theme and Fredrick
Romantic Period. forms. During this Variations, Trio, Chopin
Instrumental music period there was a Minuet, Tone Richard
during this time significant Poem, March, Wagner
arose out of the increase in the use Suites, Ballades, Felix
philosophy of of music as means Nocturnes. Mendelssohn,
individualism of emotional
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introduced during expression. Franz

the Age of Composers during Schubert.
Enlightenment. this time prioritized
emotional and
narrative content
above form.
Breaking the
classical
composers’ rule
made this period
in instrumental
music distinct.
The increased
breaking of rule
was due to the
incorporation of
imitated sounds
from nature such
as thunder, birds,
wind, and even
trees.
Modern 1900- The 20th Century Preludes, Phillip Glass,
The Modern Era Present marked Nocturnes, Steve
has been a time of various new kinds Etudes, 12 Tone, Reich, John
considerable of symphonic Tone Rows, Adams,
advances in music as well as Music for Stravinsky,
technology and many new kinds Marimba, Bernstein,
politics. This was a of popular music. Metamorphosis, Arnold
time when During this period, Short Ride in a Schoenberg
numerous music styles were Fast Machine, Alban Berg,
machines were marked and many Claude
invented and used by suggestion or more Debussy, John
by many. atmosphere Cage.
There have been rather
more wars and than clear,
outbreaks of social defined parts;
violence in the were based on a
past century than new kind of
in all previous ages musical theory,
combined, mark by a sense of
including two atonality; were
major World Wars based on
that dramatically constant
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affected all harmony and

aspects of life in steady pulse; and
Europe and musical elements
America between were left to
1914-18 (WWI) and chance and that
1939-45 (WWII). some part is not
written or planned
Now that you have read the characteristics of each musical style and period, you are
now ready to expand your understanding of instrumental music by looking into the
definition of some different forms of musical composition.
Forms of Musical Definition

Composition
1. Concerto A musical composition usually composed in three parts or
movements, in which (usually) one solo instrument (for instance, a
piano, violin, cello or flute) is accompanied by an orchestra or
concert band.
2. Suites Are ordered sets of instrumental or orchestral pieces usually
performed in a concert setting.
3. Sonata Often written for one or more violins and bass, it consisted of a slow
introduction, a loosely fugued allegro, a cantabile slow movement,
and a lively finale in some binary form suggesting affinity with the
dance-tunes of the suite.
4. Overture An overture is a piece of music played by an orchestra at the
beginning of an opera or play.
5. Nocturne A composition inspired by, or evocative of, the night, and
cultivated in the 19th century primarily
6. Etude A piece of music intended to be played to improve a musician's
technical skills.
7. Requiem refers to the Requiem Mass, or as it is more properly known, Missa
pro defunctis, the 'Mass of the Dead. ' Thus, this composition is
meant for the wake or burial of the dead.
8. Fugue A musical composition in which one or two themes are repeated or
imitated by successively entering voices and contrapuntally
developed in a continuous interweaving of the voice parts
9. Symphony A usually long, complex and elaborate composition for the
orchestra with a sonata part.
10. Ballades A term applied to an instrumental (normally piano) piece in a
narrative style.
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The above forms of music were extensively used in movies, television shows, radio drama,
and other forms of art as either background music, filler, or concluding music because of
the emotive and psychological effects that they produce.
Music has been transcreated through interpretative dance, painting, poetry, and other
forms of art. When dealing with creative content, it can be challenging to translate
correctly and capture the same meaning in another language. Transcreation is a
compound word that combines translation and creation. Transcreation share similarities
with narration and borrowing.
Some famous transcreations are Vincent by Don Maclean inspired by Van Gogh’s Starry
Night, Leda and the Swan poem by WB Yeats from Greek Mythology, Anne Frank’s Diary
movie from the novel Diary of Anne Frank.
The concept of transcreation may also be done through improvisation. Read about it in
the next section.
What is improvisation?
Improvisation is one of the core techniques used by actors. It stretches the imagination;
sparks spontaneity and can lead to unforgettable performances. Improvisation is the
activity of making or doing something not planned beforehand, using whatever can be
found. It is a very spontaneous performance without specific or scripted preparation. It is
also known as Improv, a group of performers who create original scenes and characters
on the spot.
Improvisation isn’t just restricted to the silver screen though. It spans various genres: from
improvised comedy nights and stand-up comedy to music. We’ll take a look at what
improvisation really means, and why developing improvisation skills can be so useful.
When did it start?

Improv draws from the theatrical traditions of:
1. Commedia Dell’arte - 1500s-1700’s when performers improvised in the streets of Italy
Commedia dell'arte troupe, probably depicting Isabella Andreini and the Compagnia
dei Gelosi
2. Clowning
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Improvisation was used in the theater as a form of a rehearsal technique, as a form of

instant entertainment and as an excellent tool to develop a sense of reality on stage
among actors.
What are its benefits?
1. Improv can help people become:

a. pragmatic- accept reality, pay attention, listen
b. playful- have fun, collaborate, diffuse difficult situations
c. flexible- be adaptive, willing to change, keep an open mind
d. imaginative- ideas there when needed, open flow to imagination, letting ideas
come without filters or judgment
e. courageous- fail and get over it, take risks, share imagination, think on your feet
2. Improv strengthens the capacity for emotional risk.
3. improv teaches us to soften our focus and heighten our awareness, so that we can
respond well to surprises.
These are some rules to follow in improvisation:

1. Trust your partner
2. Trust your instinct
3. Yes, and…
4. Do not negate or shut down other people’s statements, instead, add on them
5. Don’t have a plan. Be in the moment. Don’t come in with a set of agenda. Let the
scene evolve. Listen and react.
6. Show rather than tell.
7. Play your scene from moment to moment and concentrate on what’s happening
in the present NOT what’s going to happen next.
8. DON’T anticipate action, or else you will miss what’s happening right now!
9. *Take cues from your scene partner (s) and be observant and listen!
Jargons used in Improv
• Offer- any verbal or physical suggestion made by another actor.

• Explore - refers to the act of accepting an idea offered by a fellow actor, and
then exploring the natural consequences of that idea.
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Features of Improvisation
1. Dance Improvisation
• Process of spontaneously creating movement.
• Facilitated through a variety of creative explorations, including body mapping
through levels, shape and dynamic schema.
• It is a free, seemingly unstructured, less technically strict and impulsive form that
draws inspiration from everyday dance practices and influences.
• Not only into creating new movement, it is also defined as freeing the body from
habitual movement patters.
2. Performing Arts
• Improvisation can be:
• on the spot (at the moment)
• off the cuff (impromptu)
• It can take place more often if it is practiced as a means of encouraging artistic
or creative behavior.
• It can be done when an individual or group is acting, dancing, singing, playing
musical instruments, talking, creating artworks, problem solving, reacting at the
moment and in response to the stimulus of one’s immediate environment and
inner feelings.
3. Music Improvisation
• The art and act of improvising or of composing or arranging anything
without previous preparation or producing something from whatever is
existing or available
• In music, it engages creativity and imagination.
• In theater, a performer may play dramatic scenes without any written
dialogue and with minimal or no prearranged dramatic activity.
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Now that you are informed of some types of improvisations, watch the following videos
to illustrate how these varieties of exercises in performing arts are tremendously useful in
creating a craft. Pay attention to how the speakers, actors, and performers demonstrate
the authentic and spontaneous uttering of lines or dialogues, mixing of sound in order to
create great music, and executing body movements. For CBL students, Check Module 5
folder, Elaborate sub-folder.
1. Core Connection Sharing Balance by Rene Alvarez

https://www.youtube.com/watch?v=jcrbIdY3HZc
2. Becca Mitchell’s (Anna Kendrick) music mix in Pitch Perfect

https://www.youtube.com/watch?v=7_ppVt5Doks
3. Cornerstone’s Improv Team performs improve game for theater

https://www.youtube.com/watch?v=1EbCy08p4Ko
You have seen how musicians create music, dancers connect through touch, and
actors hone their acting skills through improvisation. Now it is your chance to practice
what made them prepared for their craft. Building confidence among actors and
performers takes a lot of time and effort. Even a seasoned performer or actor needs
workshop for him or her to be resourceful and to be comfortable with his or her body.
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As a performer, your voice, face, hands, head, and legs work together in
synchronization to show authenticity in your craft.
In order to have an experience how these performers prepare themselves, do the
following exercises on contact, music, and theater improvisation. Watch instructional
video, Contact Improvisation (https://www.youtube.com/watch?v=H8JiB2Nv5Qo). In
the first viewing, observe how the two performers execute movements. In the second
viewing, do the exercises by imitating these with a partner (any relative) how they move
their hands and connect with each other. Make sure you have enough space for this
activity.
A great way to build confidence and gain personal experience in music

improvisation is to sing along with your favorite recorded song. You may add a little
variety of sounds or a melody that fits to it. First, listen to the music improvisation of Bobby
McFerrin in this video
https://www.youtube.com/watch?time_continue=100&v=81uJZIF9TCs (sing! Filename
on your OTG module 5 folder, Elaborate subfolder) then try to start making sounds that fit
well with his music. You may add whistles, hums, or any sound you like. Experiment on it.
Try human beat box or sounds created when you do your chores (washing utensils,
brushing the floor tiles, pounding, chopping, etc.) Make sure you record it and listen back.
This activity will make you realize that you do not need to be expert on the technicalities
in music. As long as you have the technical ear to make associations of sound quality,
you can make an amazing music.
Lastly, expansive movements and exaggerated facial expressions are important

on stage. Improvisation exercises in theater can help you go beyond the version of
yourself. Given with different situations, you learn how to react with your instinct and
respond to the other characters, even without a script. Facial display in improvisation
conveys the being of the character. Thus, if you like to deliver the message, you need to
work on your facial expressions. To help you express these emotions, the instructional
video will help you become animated on stage.
Enrichment Activity: Now that your understanding of art expression is expanded, you are
now ready to take on a task.
David Hall (2019) strongly contends that “interpreting music is an exercise that really
pushes you to hone multiple musicality skills at once – it can encompass active listening,
sight reading, sight singing, transcription, and even composition.” He adds that to
interpret music, you must first re-imagine a piece of music completely by allowing your
interests, style, or preference to be of influence. Second, you must realize the composer’s
intention by understanding the milieu by which the piece was created. Finally,
interpretation necessitates personal enjoyment; hence, you must shape your own
rendition with much ease and confidence.
Page 157 of 159
Listen to Antonio Vivaldi’s Storm and create a 1-minute to 1½ -minute impromptu

performance. For the online learners you may visit this link:
https://www.youtube.com/watch?v=NqAOGduIFbg.
This task serves as your formative assessment and enrichment activity. To accomplish
this task, find a space where you can move freely and follow the steps below:
1. Pick an object that you can see inside your house. Make sure that this object is
something that you can hold and lift.
2. Play Antonio Vivaldi’s Storm as your background music for the performance.
● For online-based learning, you may check the attached material in Google
classroom or visit the link: https://www.youtube.com/watch?v=NqAOGdulFbg
● For correspondence-based learning, Open Module 5 Evaluate folder.
3. Do the following:
a. Like a mime, act out the chosen object by not using it in its original form (e.g. a
tripod used as a binocular, cellphone as a soap, etc.). The development on how the
material will be used should be established. In other words, make a story out of it. Do
not directly expose how you wish to interpret/portray the use of the object.
b. Your actions must be congruent with the rhythm of the song.
c. Think of two other interpretations and consider instructions a and b. Make sure
that you have three different interpretations/stories as the music plays.
d. Transitions must be smooth in between interpretations/stories.
4. Do not rearrange the musical piece.
5. This task is likened to a silent film; hence, your video does not need any caption
or verbal audio from you. The only sound that must be heard is Vivaldi’s Storm. Your
facial expressions and movements must imply the emotions and the story.
Page 158 of 159
References:
Barras, C. (2020). Did early humans, or even animals, invent music? Retrieved 19 June 2020,
from
http://www.bbc.com/earth/story/20140907-does-music-pre-
datemodernman#:~:text=A%20literal%20reading%20of%20the,stretching%20back%20a
%20m
Hall, D. (2020). 3 Ways to Interpret Your Favourite Piece of Music | Musical U. Retrieved 20
June 2020, from https://www.musical-u.com/learn/3-ways-interpret-favourite-piece-
music/
Modern Art Music. (2020). Retrieved 23 June 2020, from https://wmich.edu/mus-
gened/mus150/1500%20webbook%20modern%20artmusic/Modern%20ArtMusic.ht
Montagu, J. (2017). How Music and Instruments Began: A Brief Overview of the Origin and
Entire Development of Music, from Its Earliest Stages. Frontiers In Sociology, 2. doi:
10.3389/fsoc.2017.00008
Music, Instrumental | Encyclopedia.com. (2020). Retrieved 23 June 2020, from
https://www.encyclopedia.com/humanities/encyclopedias-almanacs-transcripts-and-
maps/music-instrumental
Natalia Kuznetsova, T. (2020). Music Appreciation | Simple Book Production. Retrieved 20
June 2020, from https://courses.lumenlearning.com/musicappreciation_with_theory/
Overview of Baroque Instrumental Music | Music Appreciation 1. (2020). Retrieved 24 June
2020, from https://courses.lumenlearning.com/suny-
musicappreciationtheory/chapter/overview-of-baroque-instrumental-
music/#:~:text=During%20the%20baroque%20era%2C%20instrumental,as%20impo
Team, S. (2020). The Romantic Period of Music. Retrieved 22 June 2020, from
https://www.connollymusic.com/stringovation/the-romantic-period-of-music
• Gabe Mercado’s Improv Workshops
• https://www.slideshare.net/maripatwilk/rules-of-improvisation-9408692
• https://www.google.com.ph/search?q=improvisation+ppt&oq=improvisation+pp
t&aqs=chrome.0.69i59j0.4287j0j8&sourceid=chrome&ie=UTF-8
• https://www.city-academy.com/news/what-is-improvisation-acting/
Page 159 of 159

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Document Code FM-STL-013

Saint Louis University Revision No. 01

I. Course Title: Art Appreciation

II. Course Overview

B. Course Learning Outcomes

As future professionals you are expected to be well-rounded individuals. To unlock your

C. Module and Unit Topics

III. Course Study Guide

Chapter IV: Code of Discipline

transmitted message or graphics, or demonstrating offensive gesture, which causes

1st violation: Warning with invalidation of grade

N.B. Addition by Language and Communication Department ( August 2020)

Commission of any of these will mean zero credit.

1st violation: Warning to Suspension

III. Study Schedule

Schedule Topic Learning Activities

UNIT 1 Definition of Art Appreciation and Key Concepts on Art

UNIT 2 Functions of Art

Explain: Understanding better the functions of art

Evaluate: Task 1: TEACHER PREPARED GOOGLE QUIZ

UNIT 3 SUBJECT IN ART

Week 5-6 5. Classify Engage: Evaluating Representational and non-

Elaborate: Analyzing subject in art

PRELIM INTEGRATED ACTIVITY: CREATING A SELF-

MODULE 2 ELEMENTS AND PRINCIPLES OF ART

Week 1 1. Identify Engage: Discover thru pictures the elements and

MODULE 3 CONTENT IN ART

Week 2-3 2. Analyze

Week 4-6 7. Determine Engage: Discovering your Art Movement

MODULE 5 THE MIND AND WORK OF AN ARTIST

MODULE 6 TEXTILE ART AND EMBEDDED CULTURE

Week 3-4 9. Identifying Engage: Making choices

MODULE 7 VARIOUS ART EXPRESSIONS

Week 5-6 11.Compare Engage: Eliciting emotive responses

Evaluate: Object improvisation (FINAL

To pass the course, you must:

Your grades will be computed according to the following weight allocations:

CS (online discussion, assignment 1-2, quiz) = 60%

CS (online discussion, assignment 1-2, quiz) = 60%

Tentative Final Grade

CS (online discussion, assignment 1-2, quiz) = 60%

Prelim Grade = 30%

VI. Contact Information of the Facilitator

For questions or clarifications, please contact

LANGUAGES AND COMMUNICATION DEPARTMENT: 0968-269-6347 OR 0906-079-0803

IV. Specific Guidelines

Read and understand the details provided in UNIT 3

IV. Specific Guidelines

INTEGRATED PRELIM ACTIVITY

IV. Specific Guidelines

RUBRIC (50 points)

9 - 10 6-8 3-5 1-2

CHED CMO-No.20-s2013 presents the goals of Higher Education. Section 1 of the

III. Specific Guidelines

IV. Specific Guidelines

INTEGRATED MIDTERM ACTIVITY

Resemblance The artwork The artwork The artwork The artwork

Creativity Student Student has Student Student has

Design/Comp Student Student Student tries The

You are bound to create a synthesis of an artist’s or an artisan’s biography, artworks,

CHED CMO-No.20-s2013 presents the goals of Higher Education. Section 1 of the

VII. Specific Guidelines

IV. Specific Guidelines: