Module 6

HISTORY AND DEVELOPMENT

OF ART
SOULMAKING
(ART MAKING)

GE006
Art Appreciation

to your sixth module!

This module is a combination of

synchronous & asynchronous learning
and will last for two weeks
Summative test will be given via
Google Form in asynchronous test

Francisco C. Tapia, Jr. LPT, MAED

Instructor
09991693711
smmcprofessirkikotapia@gmail.com
Teacherkiko Tapia

May 10, 2021

Date Initiated
May 14, 2021
Date of Completion
 MODULE SCHEDULE

Week 13-14 Module 6 Soulmaking (Art Making)

• The Process of Art Making and Acts of Appropriation Synchronous Via Google Meet
• Textile Arts of the Minorities Synchronous Via Google Meet

LEARNING OBJECTIVES

After completing this module, you should be able to:

• discuss the concept of soulmaking;
• develop students’ artistic potentials through soulmaking;
• enhance students’ sensitivity and awareness towards their environment;
• draw out metaphor from local myths so that students will value cultural roots and
• develop students’ ability in manipulating the elements of art.

INPUT INFORMATION

Lesson 1: The Process of Art Making and Acts of Appropriation

No one is really an expert in art. It is truly a lifetime process that never ends. Formal training, though not
critical, helps in the sense that it can speed up one's learning, having the benefit of many teachers' and students'
experiences. A beginning art student will learn visual perception (basic drawing), two-dimensional design, three-
dimensional design, history of western art, perspective, lettering, color theory, figure drawing, and more;
ceramics, sculpture, photography, printmaking, art history, painting and more come after the first year.
Though perhaps not commonly known, it requires a lot of study to learn how to make art. Even if self-
taught, one must go to museums, galleries, read books, talk to other artists, etc. to learn about painting,
sculpture, printmaking, photography or contemporary media. It really must become more than an area of study - it
becomes a way of life, in that an artist is always an artist; it is a characteristic rather than an activity. It means to
always be searching, looking, thinking, feeling.
Many times a day, one will see things in nature, in a newspaper or magazine, when driving, etc. that strike
us, and try to make note of - for possible use in the future. It may be an object or scene - but more often it is
seeing a color relationship of two or more colors together; or an interesting light effect; an arrangement of
patterns in space. Try to remember to use those colors in that relationship in a future painting; or that light effect,
etc.

Soulmaking (Art Making)

Art making is a fun and rewarding way for people to
express themselves and to learn a broad range of skills and
concepts. In making art, students explore the materials and
techniques used by artists and architects, and experience the
decision-making practices that artists have used over the
centuries. While many art educators emphasize the creative
process and exploration through art, others focus on
developing studio skills and a fully realized final product.
Students interested in working further in their craft become
amateur or professional artists.
When educators emphasize the art-making process
over the final product, students increase their sense of
mastery, decision-making, and feeling of inclusion and
independence, and ultimately grow in self- awareness.
Working in groups offers opportunities for shared risk taking
and completing works through teamwork, cooperation, and
the exchange of ideas.

The Art Making Process

In the art making process students receive guided instruction on how to start and finish a typical art
project using efficiency and best practices.
Phase One begins with sketching, grid-lining, drawing, or filling in under-paintings. In this phase, students
learn about introductory best practices on techniques and approaches, and understanding the art concepts.
Phase Two includes adding multiple layers of tone, color, or paint within an artwork. Here, students are
required to problem solve and are encouraged in their art to explore, manipulate, and master technique based art
applications.
Phase Three ends with students adding final detail and craftsmanship showcasing their finished projects.
This includes demonstrating the understanding of the art elements, habits of mind and effort, communication
skills, habits of work, composition concepts, and execution into a well-crafted project.

Stages of Art Making

Art doesn't just happen. Whether it's a simple line
drawing or an involved, realistic painting, there is a definite
trajectory to the creative process. Beginning with the spark of
inspiration and finishing with the completion of a work, the
following are illustrated guide that portrays the five stages of
creating art.
1. Inspiration -This is one of the most exciting moments in
the process of creating art: that beautiful moment when
inspiration strikes. Where does inspiration come from?
2. Percolation- While it's not the most glamorous part of
the creative process, the "percolation" period is vital to
creating art. Basically, this is the time that elapses after
you've had your idea, but before you start making art. It
can transpire in many different ways.
Sometimes this involves refining your idea by making
sketches and tossing out just as many or playing around with
ideas visually. Other times,
it's just a matter of giving an idea space to germinate. Sometimes, you may have an idea year before you create
the piece of artwork it inspired. It doesn't mean you've been resting on your laurels that entire time, though.
There's part of you that is always processing and refining your idea.

3. Preparation- Preparation can be confused with the "percolation" period, but it is a more active and
focused time. You've settled on your inspiration and how you'd like to proceed. Now, it's a matter of
figuring out how to make it happen.
4. Creation- Finally, it's time to make it happen! Creation is the time during which you are solidly on your
path. You have your pen to paper, your brush to canvas. You are creating.
The process of creation can vary depending on your personal temperament, your artistic style and
your medium. For some, the process of creation is actually quite short and much of the work has been
done in the previous phases — for instance, a simple line drawing. While it might take minutes to
complete the drawing, the thought and time developing that idea was the more time-consuming part of
that project.
5. Reflection — After you create a piece of art, there might be a slight tizzy of activity: sharing it with family
and friends, delivering it to a client or hanging it on the wall. But regardless of the end point of the art, its
completion often leads to a period of reflection.

Seven Da Vincian Principle

One of the biggest questions about innovation is "how
do we maintain it over time?" After all, there are lots of one hit
wonders, but only a few people can continue to come up with
innovative ideas on an ongoing basis.
While it would be impossible to do justice to this genius
in one blog post, hereunder is the Seven Da Vincian Principles
that help define da Vinci's approach to life and as such
innovation (Gelb, 1998). Those seven principles are:
1. Curiosita (Curiosity): An insatiable curious approach
to life and an unrelenting quest for continuous learning.
After all, have you ever met a successful person who
does not claim to be a veracious learner?
2. Dimonstrazione (Demonstration): A commitment to
test knowledge through experience, persistence and a
willingness to learn from past mistakes. This is pretty
much the scientific method applied to everyday life.
3. Sensazione (Sensation): Continual refinement of the senses as the means to enliven experience. To be
innovative we must be aware of what is going on around us.
4. Sfumato (Going Up in Smoke): The literal translation for this term is going up in smoke. It is about our
willingness to embrace ambiguity, paradox and uncertainty. As the old saying goes, the only two things
that are certain in business are uncertainty and change.
5. Arte/Scienza (Art and Science): Developing a balance between logic and imagination. After all,
imagination without logic is day dreaming, and logic without imagination is boring. Other terms for this are
balancing between art and science as well as whole brain thinking.
 6. Corporalita (Of the Body): This is about maintaining a healthy body as well as a healthy mind. Have you
ever seen a really unhealthy person who was creative? While there are a few exceptions here and there,
they are very rare. One of the core concepts of da Vinci's approach is keeping our bodies fit being a
function of keeping our minds fit. Fit minds lead to more innovative and creative solutions.
7. Connessione (Connection): This is the simple recognition of the interconnectedness of all things and
phenomena. As we talked about early on, it isn't always just an issue of coming up with something totally
new, sometimes it is about seeing the links between how to use old things in new ways.

Acts of Cultural Appropriation

Cultural appropriation is a concept in sociology dealing with the adoption of the elements of a minority
culture by members of the dominant culture (Young, 2010). It is distinguished from equal cultural exchange due
to the presence of a colonial element and imbalance of power (Wikipedia). We live in a culture that overflows with
images and objects. From television to the Internet, from the mall to the junkyard, we are surrounded by words,
images, and objects that are cheap, or free and throwaway. It is not surprising that artists incorporate this stuff
into their creative expression.

Appropriation is the practice of creating new work by taking a preexisting image from another source-- art
history books, advertisements, the media— and transforming or combining it with new ones. The three-
dimensional version of appropriation is the use of found objects in art. A found object is an existing object-- often
a mundane manufactured product— given a new identity as an artwork or part of an artwork.
The act of appropriation is basically exploitative in nature because it robs minority cultures of the credit
they deserve. This is especially true when it comes to art forms and music, where the borrowing dominant culture
is perceived as creative and innovative while the original culture is perceived as lacking in the same, where the
truth is, said culture was the one who came up with the music and the art forms in the first place.
The differences between types of appropriation are crucial in determining whether and how an instance of
appropriation is objectionable. There are at least five quite different sorts of activity called cultural appropriation:
1. Object Appropriation - This appropriation occurs when the possession of a tangible object (such as a
sculpture) is transferred from members of one culture to members of another culture. The removal of the
decorations from the Parthenon by Lord Elgin is often regarded as a case of material appropriation. The
transfer of a totem pole from the site of a Haida village to a museum is another case of material
appropriation.
2. Content Appropriation - This form of appropriation involves the reproduction, by a member of one
culture, of non-tangible works of art (such as stories, musical compositions or dramatic works) produced
by some other culture. A musician who sings the songs of another culture has engaged in non-material
appropriation, as has the writer who retells stories produced by a culture other than his own. The
Lettermen's rendition of Dahil Sa Iyo could be an instance of content appropriation.
3. Stylistic Appropriation - Sometimes artists do not reproduce works produced by another culture, but still
take something from that culture. In such cases, artists produce works with stylistic elements in common
with the works of another culture. White musicians who compose jazz or blues music are often said to
have engaged in appropriation in this sense. Similarly, white Australians who paint in the style of the
aboriginal peoples would be engaged in stylistic appropriation. The use of coat and tie by Filipinos is
another example.
4. Motif Appropriation- This form is related to stylistic appropriation. Sometimes artists are influenced by
the art of a culture other than their own without creating works in the same style. Picasso, for example,
was influenced by African carving, but his works are not in an African style. Similarly, Ravel was
influenced by the jazz of African Americans, but his compositions are not in a jazz idiom. Rather than
appropriating an entire style, such artists have appropriated only basic ideas or motifs.
5. Subject appropriation- This occurs when someone from one culture represents members or aspects of
another culture. Many of Joseph Conrad's novels involve subject appropriation, since Conrad frequently
wrote about cultures other than his own. W. P. Kinsella's stories about the Hobbema Indian reserve are
often cited as examples of objectionable subject appropriation.

Many people who have written on cultural appropriation have not been sensitive to the difference between
the various types of appropriation. Reasons may exist for thinking that instances of one sort of appropriation are
objectionable.
The same reasons may be unable to show that another sort of appropriation is in the least problematic.
Nevertheless, artists do make ethical decisions in such areas as the appropriation of others' work, what
materials they use in their work and how they use them, the digital manipulation of their work, and what role they
play as observers of the events they capture in their art, And, as we have seen, museums and other places in
which art is exhibited play distinct roles and have responsibilities in how art is preserved, interpreted, and
displayed.

Lesson 2: Textile Arts of the Minorities

The craft of designing or creating textiles-materials composed of a web of natural or artificial fibers-spans
global cultures and represents one of the earliest human technologies. Techniques for producing them include
weaving, crocheting, knitting, felting, pleating and looping, resulting in an extraordinary range of materials (cotton,
linen, silk, wool, etc.). Textiles have long served various purposes, including the decorative, for instance in
tapestries and rugs. The 230 ft. long Bayeux Tapestry (1070-1080 A.D.), for example, serves as an important
historical document in the telling of the Norman conquest of England in 1066 A.D. In the 20th century, as with
many other mediums, artists began to use textiles in new contexts as well as explore the social and conceptual
implications of their usage.

Textile Art
Textile art is the process of creating something using
fibers gained from sources like plants, animals, insects or
synthetic materials. Making textiles is an extremely old art
form. Textile fragments have been found dating back to
prehistoric times and there's a good reason for this. Think of
how cold winter can be. How would you feel if you didn't have
warm clothing? People developed textiles to keep warm, to
protect surfaces and to insulate dwellings.
Examples of such textiles include tapestries, rugs,
quilts, and of course, clothing. People also used textiles to
make objects that signaled status or commemorated important
events. Examples of this type of textile include things like
flags, military uniforms, or ceremonial banners.
The textile arts also include those techniques which are
used to embellish or decorate textiles -- dyeing and printing to
add color and pattern; embroidery and other types of
needlework; tablet weaving; and lace-making. Construction
methods such as sewing, knitting, crochet, and tailoring, as
well as the tools employed (looms and sewing needles),
techniques employed (quilting and pleating) and the objects
made (carpets, kilims, hooked rugs, and coverlets) all fall
under the category of textile arts.

The Tnalak Process

The T’nalak is a traditional cloth woven by the T’boli women of Lake Sebu and to them this unique fabric
represents birth, life, union in marriage and death. It is often used as blankets and clothing and in rare occasions,
it is used in the royal wedding ceremonies.
The T’nalak is sacred and represents the T’boli uniqueness and identity as indigenous group of people.
Making the T’nalak is a skill that young T’boli women learn through their mothers, grandmothers or even
sisters. Most of the existing weavers today come from the generation of T’nalak weavers that go back to their
ancestors. The young T’boli women are introduced to the process by first assisting in the initial stages. As they
progress, they move on the dyeing, weaving and tying of the knots. It can take around one to five years of
constant practice for a T’boli woman to fully learn the full production method.
Weaving the T’nalak is a tedious and requires numerous steps for a single cloth to be completed.
Hereunder are the process to
be undertaken in weaving a T’nalak (oneweave.org):
Step 1: Kedungon or Abaca plant. Harvesting of the abaca and the stripping of the fibers. Making the
t’nalak begins by gathering the raw material used in weaving found in the stems of the abaca plant or the
kedungon. This plant is from the same family as the banana tree.
Step 2: Tembong or connecting. Segregating the fibers and connecting them from end to end. After air-
drying the newly harvested fibers for at least 24 hours or until they are adequately supple, the fibers are grouped
into wrist-size bundles. To soften the fibers, the women take the abaca strands and hand-rub or squeeze them,
using a motion like washing clothes, to make them pliant. This motion produces a zigzag pattern which helps the
weavers to easily identify and segregate the strands according to quality. Fine fibers are reserved for the warp or
the lengthwise threads, and the thicker fibers are used for the weft or the crosswise threads.
Step 3: Semdang or setting. Preparing or setting the fibers on the loom for knotting. Once the raw
material has been prepared, the connected fibers that make up the warp are set on the gono smoi or loom. This
special loom is composed of a comb-like wooden frame with teeth pointing upwards to preserve the fibers' length
and silkiness. After the fibers are smoothened out, they are placed evenly and closely spread on the gono smoi
and held in place by a teladay or wooden bar that is laid across and directly over the fiber.
Step 4: Mebed or designing. Knotting the fibers prior to resist-dyeing. The next phase is the design
process called mebed, which begins on the tying frame. This delicate task of knotting the warp for the resist-dye
method determines the design of the t’nalak. This is a tedious and intricate process, that can take up to four to
five weeks as knot after knot is tied into place.
Step 5: Temogo or dying and Hemto or untying of knots. Gathering and preparing the natural dyes,
dyeing the warp and untying knots. A t'nalak is defined by using the three traditional colors: black, red and white.
In coloring the abaca strands, the T'boli women make use of natural dyes found in vegetation around their area.
This process of resist-dye is commonly known as the ikat method that is shared with the neighboring countries of
Indonesia and Thailand.
Step 6: Mewel or weaving. Setting the dyed warp on the backstrap loom. The T'boli backstrap loom or
the legogong, is a form of horizontal two-bar or two-beamed loom where one bar is attached to the ceiling
bamboo beam of the T' boli longhouse and the second beam, or the backstrap, is attached to the weaver's lower
back.
Step 7: Semaki or ironing. Burnishing the surface of the t'nalak. The final phase of producing the t'nalak
involves burnishing the surface with a saki or cowrie shell, while the fabric is still moist. This shell is attached to
one end of a bamboo stick with the other end attached to a hole in the ceiling of the longhouse to help apply
additional pressure to the procedure. This task involves a strong body, as the shell is firmly rubbed repeatedly on
the t'nalak in order to flatten it and produce an even coruscating gloss.
Once the burnishing is done, the t'nalak is washed in cold water at a steady flowing stream after which it is
hung and dried. When completed, the t'nalak is stored by rolling it and wrapping it with a separate cloth to protect
it from damage.

T'nalak and T'boli Art

The T'boli are famous for their dream-inspired and spirit
infused T'nalak weavings, but also for their embroidery, brass
casting and other crafts. Tnalak weaving is an art form perfected
over decades of practice by T'boli women, and only a handful of
master weavers can be considered true 'dream weavers', the
works of whom are highly valued.
Tnalak, a deep brown abaca-based cloth tie-dyed with
intricate designs, is produced by women of Mindanao's T'boli
Tribe. It is one of the best known cultural products of the
Philippines.
Tnalak production is a labor intensive process requiring a
knowledge of a range of skills learned from a young age by the
women of the tribe. First, abaca fiber is stripped from the abaca
tree, cleaned, dried and separated into strands. These strands
are then carefully selected, hand tied and rolled into balls. Natural
vegetable dyes produced by the T'boli weavers themselves are
used to stain these hand spun abaca fibers. The Tnalak is then
woven, usually in tones of red, brown and black, with the end
product requiring months of work to produce a single, unique
weaving.
The Mandaya is one of Mindanao's surviving minority
tribes of the Philippines. They live in the mountainous areas
above the coastal town of Davao Oriental particularly in Boston,
Cateel, Bagangga, Caraga and Manay. For many generations the
Mandaya have woven cloth from fibers of native abaca tree, a
variety of the banana family, which is abundant in the region. The
finest grade of hemp extracted from abaca stalks is stripped
pounded, combed then prepared for dyeing by tying thus, the
word tie-dye. The dyes are made from mud, root and other
organic materials.
This cloth is known locally as dagmay. It is distinguished
from other tribal weaving by the intricate figures and patterns
depicting the folklores and religion of the tribe. The Mandaya
have carried the human and crocodile motifs to their highest
expression. The crocodile is held sacred as shown by the
frequency with which it appears in their decorative design. This
art is handed down from generation. There are no patterns copy.
Each design is an expression of the weaver. The unique culture
of dagmay weaving by the Mandayan tribe earned them the title
"Lumad that Weave Dagmay."

Pis-syabit
Pis Syabit is the traditional cloth tapestry made from
cotton or silk worn as a head covering by the Tausug of Sulu. The
most recognized community of Pis Syabit weavers in Sulu are
from Barangay Guimba Lagasan in the town of Parang. This is
also where the late master weaver Darhata Sawabi, a GAMABA
Awardee of 2005 (National Living Treasure) came from.
These community of weavers are well known for their
expertise in the craft, their bold contrasting colors, evenness of
their weave and their faithfulness to traditional designs.
Unlike other traditional weaves, Pis Syabit are intricately
woven at the houses of the Tausugs. Most of the elder weavers
devoted their full time to their craft. They even teach and pass on
this tradition to interested young generation. Pis syabit weaving is
a difficult art. Preparing the warp alone already takes three days.
It is a very mechanical task, consisting of stringing black and red
threads across a banana and bamboo frame to form the base of
the tapestry.

Seputangan
The Yakans settled originally in Basilan island and in the
early seventies, due to political unrest which led the armed
conflicts between the militant Muslims and government soldiers,
some of them settled in the region of Zamboanga City. The Yakan
Village in Upper Calarian is famous among local and foreign
tourists because of their art of weaving. Traditionally, they have
used plants like pineapple and abaca converted into fibers as
basic material for weaving. Using herbal extracts from leaves,
roots and barks, the Yakans dyed the fibers and produced colorful
combinations and intricate designs.
The seputangan is the most intricate design worn by the
women around their waist or as a head cloth. The warp and
primary weft are of cotton and the supplementary weft is silk. The
supplementary weft work is discontinuous, a type of work in which
the various colors are inserted in the proper place by hand.
Yakan people are recognized for their remarkable
technicolor geometric weaves and the distinctive face decorations
used in their traditional ceremonies. The Yakan are kind and
loving people that embody a non-materialistic culture and live in
close-knit communities.

Inaul
Unlike other traditional weaves from various
ethnic groups in the country which now only uses loom
products on special occasions, the inaul is still very
much an everyday item in Maguindano province.
Inaul is a time-honored weaving tradition of the
Maguindanao people usually made into malong or wrap
around skirts commonly and regularly used by both
sexe s. The Maranaos of Marawi Cit y also has this
weaving tradition.
Inaul has more than 20 designs with riyal the
heirloom piece being the rarest since it is no longer
being produced and hard to find. Other notable designs
include umpak which is embroidered-laden and hard to
do, binaludto or rainbow, panigabi or taro, and the rare
tie-dye binaludan called ikat by the T'boli and the people
of Cordillera.
The three types of threads being used in weaving are tanor which is cottony, the silky rayon, and katiyado
which is the shiny type. Rayon and tanor can be mixed together to form a malong called "mestiza."
The colors are also reflective of the Maguindanao culture. Red means bravery, green for peace, black for dignity
and white for sadness.

ASSESSMENT AND EVALUATION

• Short quiz through Google Form. Synchronous

• Summative Test
• Accomplished task

ASSIGNMENT

What is the difference between object appropriation and content appropriation? Cite five examples of each
appropriation. (More than fifty (50) words)
 REFERENCES

• Art Appreciation for College Students by Roman D. Leano, et