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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RE GENERIC-GART-2021
F
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
• Creativity
appreciation
• 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
art vs
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
School of Teacher Education and Liberal Arts Effectivity August 15, 2022
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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
Explore: Studying the kinds of subject in art and
kinds/sources of
sources of subject in art
subject and
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
ELEMENTS AND PRINCIPLES OF

MODULE 2 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

B. TEACHER PREPARED
onal, and QUIZ
subjectiv (30 pts.)
e
meaning
ART HISTORY/ ART
MODULE 4 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
THE MIND AND WORK OF AN

MODULE 5 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
Elaborate: Comparing and contrasting weaving
and contrasting
weaving designs
designs
Evaluate
Task 6: INTERPRETING TEXTILE
ARTTHROUGHH
11. Interpreting
DESIGN MAKING
textile art
(40pts)
through design
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
1
CATEGORY 0 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
Draw
the drawings are original and done traced rather than

ings
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
Spac
appropriate to the relatively or seems a little too space) or there is

e
theme. Objects are balanced, but busy. Balance has not enough
placed for best negative space not been balance between
n Use of
effect. Overall, it could be utilized achieved. foreground and

just feels right. better to create a background
d
a
more cohesive feel. causing it to seem

Balan
much too busy and

ce
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
little messy.
lines are sharp, lines are sharp, 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 detract from the quite messy.
aligned. No aligned. Smudges,
overall
smudges, drips, drips, tears or
Craftsmanship
appearance.
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;
present a creative production applying the
Images by Analyn A. Caroy, Milanie Dalingay, and Marinel L.
principles of performing arts; and
Piamonte via Facebook
deepen your identity through art with
respect to your nationality, culture, and
religion.
ART APPRECIATION

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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/2011/09/15/7
26967/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

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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


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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 generally

coincides with the advent of a 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 them
watertight. When the basket was put 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.
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.

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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.
Ganymede with Jupiter’s Eagle, Bertel
Thorvaldsen, 1817
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 https://artsandculture.google.com/asset/ganyme
an aspect of being human beyondde-with-jupiter-s-
utility.
eagle/owEgDKCDQEhlWg
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.

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“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 stretching beyond its ken.
“—Immanuel Kant
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.

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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 or object.

https://sites.google.com/a/asij.ac.jp/stan/home/c 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

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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 Mind
pc@amazestudios)
______________________________________
_________________________________
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
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Purposes and Functions of Art. Retrieved from https://slideplayer.com/slide/7273383/


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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

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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


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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.
Subjects can also be categorized as representational abstraction and non-

representational abstraction.
What else do
you need to
know?
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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C. Lajos Vajda Self-portrait, 1937 Charcoal on Paper
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
somehow, but it is not representational of
him. Thus, his work is an example of non-
representational abstraction.

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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
possessing perfect human shapes.
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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Goddess
Demon
» The ancient part human and Egyptians portrayed their gods as
» The ancient features part animal
» Among the armed god African tribes distorted their god’s
asSlayeroftheBuffalo
-14th-15thcentury The
» Buddha, is wheel or a
lotus
Hindus, Shiva is shown as a four-
8. Dreams and Fantasies

Durga
symbolized by his footprints, a
Nepal
flower
– 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

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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.

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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 the succeeding
pages)
Abstract on the Go 006 18x24 Acrylic on Canvas by Filipino

artist, Buboy Dinapo

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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 portal, and the
colonnade.
US Capitol Building, Washington DC, Britannica.com/

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

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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


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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.

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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.


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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.
CREATIVIT
Y 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/

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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.
______________________________________
______________________________________
______________________________________

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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: _________________________________________
____________________________________________________

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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.

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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.

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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 both practical and
Egyptian Arts 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 are the typical periods
Arts (Greek and in the ancient Greek art. These periods, collectively, span roughly from 1000
B.C. to 323 B. C. Images of gods, images of humans, and images of heroes
Roman)
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 the world. Due to change
(Chinese and in times and due to change in dynasties, traditional Chinese art has
Japanese) 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 and a. Art history of the Medieval period spans from 300 AD, the fall of the
Roman Empire to 1400 AD, the beginning of the Renaissance. Art evolved in the
Early Renais-sance Middle 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 influences of an increased
sance Arts 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 the beginnings of the Baroque style around 1590.
and Baroque 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 which began in Paris in the
and Neo-Classicism early 18th century but was soon 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 century to the
th
mid-19 century. This form of art is an attitude or intellectual

ism and Realism th
orientation which was characterized by many works of literature,

Arts 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.
th
Romanticism 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 later in music that flourished principally in
ism and Post France during the late 19th and early 20th centuries. A group of artists sharing
Impression-ism 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 Impressionists. It showed a preference for feeling
Nouveau, and over intellectualism. The period spans from around 1885 and continued until 1910.
Fauvism 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 in 1907 and ended in
Futurism, and 1912. It was a movement that used techniques and ideas influencing many
creative disciplines. Perspectives, which had been used to depict space since
Dadaism
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
th
on progress 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 expression, was a
De Stijl Arts 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 describe works
Expression-ism Art 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.
Saint Louis University
School of Teacher Education and Liberal Arts
Revision No. 01
Effectivity August 15, 2022
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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 to its precise,
Art and Pop Art 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

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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?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
___________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
_________
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
Image from https://nolisoli.ph/26741/philippine-weaves-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 aspects of harmony and

life in Europe and steady pulse; and
America between musical elements
1914-18 (WWI) and were left to
1939-45 (WWII). chance and that
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.

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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/

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Saint Louis University Revision No. 01

Saint Louis University Revision No. 01

I. Course Title: Art Appreciation

II. Course Overview A. Introduction

B. Course Learning Outcomes

C. Module and Unit Topics

Saint Louis University Revision No. 01

III. Course Study Guide

Chapter IV: Code of Discipline

Saint Louis University Revision No. 01

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

Saint Louis University Revision No. 01

Saint Louis University Revision No. 01

III. Study Schedule

Schedule Topic Learning Activities

UNIT 1 Definition of Art Appreciation and Key Concepts on Art

Saint Louis University Revision No. 01

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

ELEMENTS AND PRINCIPLES OF

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

MODULE 3 CONTENT IN ART

Saint Louis University Revision No. 01

Week 2-3 2. Analyze

conventi A. Painting Analysis

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

THE MIND AND WORK OF AN

Saint Louis University Revision No. 01

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

Saint Louis University Revision No. 01

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%

Saint Louis University Revision No. 01

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

Saint Louis University Revision No. 01

IV. Specific Guidelines

Saint Louis University Revision No. 01

Read and understand the details provided in UNIT 3

IV. Specific Guidelines

INTEGRATED PRELIM ACTIVITY

IV. Specific Guidelines

Saint Louis University Revision No. 01

RUBRIC (50 points)