(GE Elect AH)

Arts and Humanities

RENATO R. SIMBULAN
 PREFACE

Arts and Humanities is an interactive module which complements a 3-unit

course in the New Teacher Education Curriculum. It is based primarily on the
Compendium 1 (Professional Education Courses) of the Teacher Education Council
(TEC) and Research Center for Teacher Quality (RCTQ). It is divided into four parts.

Module I presents the essential concepts, nature and scope of visual arts with
visual arts analysis as its main focal point.

Module II focuses on works from the classical era of Greek literature, 1900’s
books of philosophical tales with humanist value, reading comprehension and analysis.

Module III tackles the mainstream Philippine pop culture, reviewing critically
acclaimed films from the 1970’s and 1980’s, classic comic strips, and the musical style
and recordings of OPM bands and other artist from the 1970’s.

Module IV Explore the rich Philippine culture on handicrafts making, its industry
and economic and cultural importance to the daily lives of the indigenous tribes and
modern Filipinos alike.

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 TABLE OF CONTENTS

Page

PREFACE .................................................................................................................................I
MODULE I- READING VISUAL ARTS ............................................................................ 1
OBJECTIVES........................................................................................................................... 1
CONCEPT, NATURE AND SCOPE OF VISUAL ARTS ............................................................. 1
VISUAL ANALYSIS IN ARTS ................................................................................................... 2
UNDERSTANDING THE VISUAL ARTS ................................................................................... 5
LANGUAGE AND ARTS........................................................................................................... 6
ARTWORKS FROM DIFFERENT PERIODS IN THE ARTS ....................................................... 9

MODULE II- GREAT BOOKS .......................................................................................... 56

OBJECTIVES......................................................................................................................... 56
MORTIMER ADLER CRITERIA.............................................................................................. 56
SPECIFIC GUIDELINES ON READING LITERARY W ORKS .................................................. 57

MODULE III-PHILIPPINE POP CULTURE ................................................................... 64

OBJECTIVES......................................................................................................................... 64
BRIEF HISTORY OF PHILIPPINE MOVIES............................................................................ 64
PIONEERING FILM OF JOSE NEPOMUCENO....................................................................... 66
GOLDEN AGE OF PHILIPPINE CINEMA ............................................................................... 67
LIST OF CRITICALLY ACCLAIMED FILMS ............................................................................ 68
PINOY COMICS .................................................................................................................... 87
RIZA’LS “THE MONKEY AND THE TORTOISE”.................................................................... 88
EVOLUTION OF PINOY COMICS .......................................................................................... 89
MANILA SOUNDS ................................................................................................................. 94
W ORKS AND RECORDINGS OF 1970’S OPM ARTISTS .................................................... 95

MODULE IV- INDIGENOUS CREATIVE CRAFTS ................................................... 106

CRAFT MAKING .................................................................................................................. 107
CLOTH W EAVING............................................................................................................... 108
BASKET W EAVING ............................................................................................................. 109
JEWELRY MAKING.............................................................................................................. 110
POTTERY ........................................................................................................................... 111
W OOD CARVING ................................................................................................................ 112
TATTOO ART ...................................................................................................................... 113
PAROL MAKING ................................................................................................................. 114
BIBLIOGRAPHY................................................................................................................... 115
 ARTS AND HUMANITIES
Module 1

READING VISUAL ARTS

At the end of this module you are expected to:

1. Recognize and describe line, colour, shape, tone, texture, composition,

strength, structure, and pattern as basic elements of arts.

2. Develop capacity to use subjective and objective criteria when making

judgments about artworks.

3. Make cultural and stylistic comparisons and judgments on the basis of

personal research.

Basic Concepts, Nature and Scope of Visual Arts

The visual arts are art forms such as painting, drawing, printmaking, sculpture,
ceramics, photography, video, filmmaking, design, crafts, and architecture. Many artistic
disciplines such as performing arts, conceptual art, and textile arts also involve aspects
of visual arts as well as arts of other type. Also included within the visual arts are
applied arts such as industrial design, graphic design, fashion design, interior design
and decorative art.

Current usage of the term “visual arts” include fine art as well as the applied or
decorative arts and crafts, but this was not always the case. Before the Arts and Crafts
Movement in Britain and elsewhere at the turn of the 20 th century, the term ‘artist’ had

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for some centuries often been restricted to person working in the fine arts (such as
painting, sculpture, or printmaking) and not the decorative arts, craft, or applied Visual
art media. The distinction was emphasized by artists of the Arts and Crafts Movement,
who valued vernacular art forms as forms much as high forms. Art schools made a
distinction between the fine arts and the crafts, maintaining that the craftsperson could
not be considered a practitioner of the arts.

Visual Analysis in Arts

The term visual analysis is a method of understanding art that focuses on an

artwork’s visual elements, such as color, line, texture, and scale. In its strictest
definition, is a description and explanation of visual structure for its own sake. Yet the
purpose of visual analysis can also recognize the choices that an artist made in creating
art work, as well as to better understand how the formal properties of an art work
communicate ideas, content, or meaning. Visual analysis can include three phases;

Phase One: Observation

Observation means closely looking at and identifying the visual attributes of an artwork,
trying to describe them carefully and accurately in your own words. The observation
phase encourages individuals to look, think, and find good language to communicate
what they notice, all without reading about the work. This phase is the most challenging,
so spending adequate time modeling and rehearsing these skills, if possible, in an art
gallery is advised.

Phase Two: Analysis

Analysis requires you to think about your observations and try to make statements
about the work based on the evidence of your observations, akin to using close reading
to formulate an argument about the text. This phase encourages you to think about how

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the specific visual elements you’ve identified combine together to create a whole, and
what effect that whole has on the viewer. There is still no reading in this phase , save for
basic information such as the title and date of the artwork.

Phase Three: Interpretation

The difference between visual analysis and interpretation is research. To use visual
analysis as the basis for an interpretation of an artwork, formulate research questions
based on what you observed and argued thus far. In this final phase (usually for a
formal paper or research proposal), balance observations, descriptions, and analysis
with facts about the artist and historical context fro trustworthy published sources. As a
guide to looking at works of art, some aspects that could be considered while evaluating
are presented in Table 1.

Table 1. Guide at to looking at artworks

Activity Aspect
Spontaneous initial This should provide the motivation to look further.
encounter “Wow!”Mmm, that’s nice.’’What’s that?’

Analysing the facts- The type of work: ‘This is a clay sculpture.’ ‘This is a
describing what they photograph of a building.’ Objects: ‘I see three girls and a
see dog.’

Visual elements; types of lines, shapes, colours, and

textures. ‘Those lines are all wiggly.’ ‘The vase is round
and flat.’
Synthesising - Having collected the facts, reflect on what they know,
interpreting meaning notice relationships, speculate and interpret meaning. ‘All
these colours are much darker than the others. It look
scary.’ ‘That man must be strong, he’s the biggest.

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Making informed value ‘I like this picture because it shows what it would be like
judgments to…’

‘I especially like the co;ours. It feels like rainy season.

Expressiveness ‘It has a happy, lively feeling because of the colours the
artist used.’

Significance ‘It’s important to show…’(social comment)

Appeal ‘I like it because…’

Skill in the production The selection and use of materials, the technical skills
of the work

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Understanding the Visual Arts

Art is a concern with concepts, feelings, ideas, images and forms and is often
specifically to refer to media such as painting, printmaking and sculpture. A wider
definition would include work in all media and embrace metal art, textile art, and ceramic
art among others. The table below outlines the main concepts used in visual arts and
some qualities which are associated with those concepts.

Table 2. Visual elements of arts

Concepts Associated qualities
line straight curved thick thin horizontal vertical oblique diagonal
wavy angular long jagged
shape regular irregular geometric angular round curved

square length width flat incomplete negative reverse inverse

pattern
colour primary secondary tertiary tone shade complementary
contrast blend light dark chroma hue pigment
monochromatic neutral discord
texture tactile optical smooth rough sharp lumpy scaly slimy furry
spiky simulated
form 3-D, 2-D, viewpoint space plane depth cues structure
highlight perspective proportion dimension
composition Perspective placement scale symbolism abstraction
representation balance non-representation

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 Language and the Arts

In order to observe the world, describe their experiences and create responses,
an individual need to develop a visual vocabulary. This should be done firstly in the
vernacular exploring in their own language first with a gradual progression to English. It
must be realized, however, that there are many art concepts and aspects in English
which would not have an equivalent word in other languages. Some English words used
to describe the different aspects of arts and crafts are presented in Table 3

Table 3. English words used to describe visual arts

Word Description
size large, larger, largest, length width, area

weight light, heavy

movement fast, slow, smooth, jerky

direction up, down, horizontal, vertical diagonal, radiating, in, out,

zigzag, over, under, parallel, concentric, spiral
surface hard, soft, smooth, rough transparent, opaque, shiny, dull

structure flexible, rigid, linear, branching, open, closed

temperature warm, cool

tone light, dark

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brilliance bright, dull

boundary straight, curved, regular,irregular shapes and spaces

position next to, besides, touching separate, overlapped interwoven,

inside, outside near, far, high, low
point of view above, below, close-up distant, inside, outside

variation different, similar, families

pattern regular, irregular, random ordered

decoration simple, detailed, traditional lively

time old, young, sequence

Function Informative, decorative structural, protective

rhythm wavy, regular

Harmony families

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balance symmetrical, asymmetrical

repetition alternating, counter-change echoing, continuous

contrast light/dark, bright/dull, rough/smooth, large/small

unity oneness, wholeness

emphasis strength, size, position

two-dimensional flat

three-dimensional solid

manufactured

natural

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Table 4. Art works from different periods in the arts
Era Description
Inception of art -Cave drawings

-Venus Figurines of the European Paleolithic

Ancient art -Ancient Egypt: the art of eternity

-Ancient Greece: the cradle of the European art

-Ancient Rome: the art of the empire

Art of the Middle Ages -Western Europe: barbarians, books and gothic style

-Byzantium: mosaics, icons and a new type of churches

Renaissance art -Italian Renaissance: Leonardo da Vinci, Raphael and

Michelangelo

-Northern Renaissance: Van Eyck, Durer and Bruegel

XVII-XIX Cent -Introduction into the art of baroque

Baroque -Architecture: luxury, theatricality and illusion

-Sculpture: when marble becomes living flesh

-Painting: Rubens, Caravaggio and Velasquez

Dutch Golden Age Development of genre painting in the Dutch art

-Jan Vermeer: “Sphinx of Delft”

-Rembrandt: the master of light and mystery

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Rococo, Classicism, -Rococo: Chardin, Watteau, and Fragonard
Romanticism
-Classicism: Poussin, Lorrain, David

Romanticism: Gericault, Delacroix, Turner, Friedrich

Art at the turn of the -Gustav Klimt: gold and new sensuality
centuries
-Alphonse Mucha: poster art
Art Nouveau
-Vrubel and “Mir Iskusstva” (The World of Art)
Russian avant-garde -Kazimir Malevich and suprematism

-Mikhail Liaronov and the origin of avant-garde

-Wassily Kadinksky and the birth of abstraction

Impressionism -Revolt against the Academy and the birth of new art

-Edouard Manet and Claude Monet: in-between friendship

and art

-Auguste Renoir: art of happiness

-Edgar Degas: the art of frozen moment

Post-Impressionism -Van Gogh: azure, sunflowers and madness

-Paul Gauguin: the art away from civilized world

-Paul Cezanne: anticipation of cubism

Art of the XX Cent -Edvard Munch, Egon Schiele, Emil Nolde, Max Beckman

Expressionism

Cubism and the -Pablo Picasso, Georges Braque

School of Paris

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 -Amedeo Modigliani, Marc Chagall

Surrealism -Salvador Dali, Rene Magritte, Man Ray

Abstract -Jackson Pollock and Mark Rothko

Impressionism and
-Andy Warhol and Roy Lichtenstein
Pop Art

Conceptual art, -Joseph Kosuth, Richard Serra, Lawrence Weiner

Minimalism and
-Yves Klein, Marina Abramovic
performance

Street art -Keith Haring, Jean-Michel Basquiat, Bansky

Philippine Art -Juan Luna

-Fernando Amorsolo

-Napoleon Abueva

-Leandro V. Locsin

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 WORKSHEET FOR STUDENTS

Feel free to change prompts, spacing, remove text, etc. to work for your class.
You might want to consider whether group or independent work is right for you, and
what you might want to achieve during class versus what needs more time (full list of
observation/analysis) and should be completed as homework.

What is visual analysis?

Visual analysis is a method of understanding art that focuses on an artwork’s

visual elements such as color, line, texture, scale, etc. In its strictest definition, it is a
description and explanation of visual structure for its own sake. Yet the purpose of
visual analysis can also recognize the choices that an artist made in creating the
artwork, as well as to better understand how the formal properties of an artwork
communicate ideas, content, or meaning. Visual analysis is often used as a starting
point for art historical writing.

Visual analysis is not just for art. It is also a critical part of visual literacy, a skill
that helps people read and critically interpret images, whether in the museum, on social
media, in entertainment, advertising, or the news. As citizens of the 21st century, we are
constantly confronted with visual media. Practicing visual analysis sharpens critical
judgment skills and helps people seek out answers for themselves instead of passively
receiving information. This is especially important when exposing hidden ideologies that
may motivate seemingly neutral images.

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How does visual analysis work?

Visual analysis can include three phases, but a given assignment might only ask
for observation or could require all three in a formal interpretation paper. Make sure you
know what you need to do!

Phase One: Observation

Observation means closely looking at and identifying the visual attributes of an

artwork, trying to describe them carefully and accurately in your own words. Do not read
about the artwork at all. The observation phase is about looking, thinking, and finding
good language to communicate what you notice. Trust your eyes and follow your
curiosity!

Phase Two: Analysis

Analysis requires you to think about your observations and try to make
statements about the work based on the evidence of your observations (akin to using
close reading to formulate an argument about a text). Think about how the specific
visual elements that you’ve identified combine together to create a whole, and what
effect that whole has on the viewer. How your eye is led through the work and why?
What choices did the artist make in creating this work, and what effect they on the
viewer? There is still no reading in this phase, save for basic information such as the
title and date of the artwork on the museum label. A visual analysis paper is not a
research paper.

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Phase Three: Interpretation

To use visual analysis as the basis for an interpretation of an artwork, you will
need to formulate research questions based on what you have observed and argued
thus far. In this final phase (usually for a formal paper or research proposal), your
observations, description, and analysis of the work are fused with facts about the artist
and historical context that you find in trustworthy published sources.

VISUAL OBSERVATION AND ANALYSIS ACTIVITY

This is an in-depth worksheet to practice visual observation and analysis that can be
pared down to fit one class session or extended to suit a class visit followed by
homework independently to complete an assignment.

PART ONE: Select an artwork (5-10 minutes)

Alone/with a partner/ in a group of 3, select an work of art that you think best
communicates (theme of your course or reading, such as animalism, love, musicality,
illness, etc.). Or can simply say select a work of art that appeals to you.

PART TWO: Look at your artwork independently (5-10 minutes)

Look carefully and silently at your chosen artwork for five minutes. Each group
member should take separate notes to capture their initial thoughts and observations.
Try to observe the artwork from far away and up close.

As you look, consider:

• What drew you to this work in particular?

• What do you notice first?

• How do you think it was made?

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• What feeling, mood, or thought does this work evoke for you?

Discuss your thoughts with your partner/group. What are your first impressions?

PART THREE: Visual observation and description (ideally at least 30 minutes)

Visual artists use formal elements such as style, color, line, texture, space,
composition, and scale to create and convey meaning. Looking at your artwork, how
would you describe the following visual elements? Remember to note where in the work
you see these specifically!

STYLE: Do things appear in this painting as we see them in real life, or are they
stylized?

Where in the work do you see this?

Observation (description only):

Analysis (thoughts about the effect on the viewer):

COLOR: Are colors warm or cold, bright or muted? Are there many colors or just
a few?

Observation:

Analysis:

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 LINE: What words capture the quality of line in this work? Are there different
kinds?

Observation:

Analysis:

TEXTURE: Is there literal texture in your artwork (object, sculpture), or depicted

texture (drawing, painting)? Where do you see this?

Observation (What does it look like?):

Analysis (Why do you think the artist chose to depict it like this?):

SPACE: Are objects cramped, or cut off, or do they have a lot of room to
breathe?

Is the work flat, or does it give an illusion of depth?

Observation:

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Analysis:

COMPOSITION: How are the visual elements of the work arranged? Do they
seem balanced? Is there one focus in particular, or does your eye move around the
painting in a particular way?

One way to help ascertain this is to imagine a vertical line dividing the left and
right halves of the painting, as well as one dividing the top half from the bottom. What
similarities and differences do you notice comparing the two sides?

Observation:

Analysis:

SCALE: Is the work life-size, smaller, larger? How does this impact the viewer’s
relationship to the artwork?

Observation:

Analysis:

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PART FOUR: Begin visual analysis (20 minutes)

Now that you have looked closely at your artwork and described its visual
characteristics—

FIRST: Go back and fill in your analysis for each observation. What effect does the
visual elements that you have described?

Discuss your thoughts with your partner/group/class.

NEXT: Consider how the visual elements that you’ve observed work together, and what
effect this combined total has on the viewer.

Here it might help to think about how your eye moves around the work and why.
Another helpful way to think about this is to consider the artist’s decision-making as well
for these visual elements. Why would he/she decide to portray it like this? You will want
to pull on you observations for style, color, line, texture, space, composition, and scale
here. Use them as evidence to draw conclusions about the artwork.

Don’t worry about having the right answer. You will not be able to answer all of
your questions definitively from merely observing the artwork, but you will be able to
make some claims and understand how the painting operates formally given the visual
evidence that you’ve compiled.

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References:

https://www.getty.edu/education/teachers/building_lessons/formal_analysis.html

_Multiple visual examples of how color, line, space, etc. Function in an artwork

2. Suzanne Hudson and Nancy Noonan-Morrissey. The Art of Writing about art

(Belmont, CA; Thompson Learning, 200

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 Cave Paintings Lascaux, France (35,000 BC)

Student Notes:

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 Cave Paintings, Altamira, Spain (18,000 BC)

Student Notes:

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 Venus Figurines, Europe (Upper Palaeolithic, around 26,000-21,000 years old)

Student Notes:

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 Venus Figurine Head

Student Notes:

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 Egyptian Fresco (750 BC)

Student Notes:

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 Queen Nefertiti, Stucco-coated limestone (1,345 BC)

Student Notes:

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 The Parthenon, Greece (438 BC) & Ionic Column

Student Notes:

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 Augustus of Prima Porta (Marble), Rome 1st Cent AD

Student Notes:

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 Wells Cathedral, England (1490)

Students Notes:

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 Theodora, Mosaic, Turkey 16th Century

Student Notes:

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 Madonna and Child, Byzantine Icon

Student Notes:

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Mona Lisa, Da Vinci 1513

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The Arnolfini Potrait, Van Eyck 1434

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Salvator Mundi, Durer 1505

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Landscape With The Fall of Icarus, Bruegel 1558

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Ecstasy of Saint Teresa, Bernini 1647

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Bacchus, Caravaggio 1595

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Self - Portrait, Rubens 1623

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Girl With Pearl Earing, Vemeer 1665

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Woman Bathing in Stream, Rembrandt 1654

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Fruit, Jug and a Glass, Chardin 1726

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Water Lilies, Monet 1916

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Oath of Horatii, David 1785

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Liberty Leading the People, Delacroix 1830

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Starry Nights, Van Gogh 1889

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Still Life With Apples And Fruit Bowl, Cezane 1882

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Guernica, Picasso 1937

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In Harvesting Rice Near Mayon, Amorsolo 1950

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Transfiguration, Abueva 1979

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Cultural Center of the Philippines, Locsin 1969

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Persistence of Memory, Dali 9131

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Autumn Rhythm (N0.30), Pollock 1950

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Campbell’s Soup Cans, Warhol 1962

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A Short Story of My Thought, Kosuth 2017

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Portrait of Basquiat Being Welcomed by the Meteopolitan Police, Basky 2017

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David, (Marble) Michelangelo 1504

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 Module 2

GREAT BOOKS

After reading the following books in their entirety, you are expected to develop
reading skills which include: skimming, scanning, predicting, and reading for
detailed comprehension and reading to develop critical thinking skills as a requirement
for this course:

1. Five Dialogues (399-361 BC) by Plato

2. The Little Prince (1943) by Antoine de Saint-Exupry

3. The Woman Who Had Two Navels (1961) by Nick Joaquin

The great books are those that tradition, and various institutions and authorities,
have regarded as constituting or best expressing the foundations of Western
Culture (the Western Canon is a similar but broader designation); derivatively the term
also refers to a curriculum or method of education based around a list of such
books. Mortimer Adler lists three criteria for including a book on the list:

• the book has contemporary significance; that is, it has relevance to the problems
and issues of our times;
• the book is inexhaustible; it can be read again and again with benefit; "This is an
exacting criterion, an ideal that is fully attained by only a small number of the 511
works that we selected. It is approximated in varying degrees by the rest."
• the book is relevant to a large number of the great ideas and great issues that
have occupied the minds of thinking individuals for the last 25 centuries.

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 Read the work slowly and pay close attention to detail. To analyze a book for its
subtle messages and ideas, you’ll need to give the book your undivided attention. Take
your time as you’re reading and pay attention to all details the author chooses to include
in the text.

• Remember when you’re reading that all the little details in the book were
deliberately chosen by the author and hence might be significant in some unseen
way. For example, if an author describes a young girl’s dress as “yellow like the
sun,” ask yourself why the author chose the color yellow (symbol of optimism) or
what it means for her dress to be compared to the sun.
• Certain sections of any book should be read with particular attention. The
beginning and end, for example, are a good place to find meaning and
symbolism in a text. Read these with a bit more attention.
• If you have trouble reading slowly or staying focused, try to keep the specific goal
for your reading in mind instead of reading “mindlessly.” For instance, if you’re
trying to analyze a work of fiction for symbolism, keep this in mind as you read
and it will help you to zero in on the relevant details (e.g., the author’s choice of
names for their characters).
• Read the book twice if you have time.

Take notes as you read. This will not only help you to note any details that
appear to be significant, but will also allow you to jot down your thoughts as you read
and keep them organized. Include page numbers and chapter numbers in your notes.

• Write down anything you think might be particularly important, even if you aren’t
sure. You’ll be glad you kept a convenient record of potentially significant details
when it comes time to write about your analysis.
• In your notes, quote directly from the book when you think the specific wording of
the text is important. Otherwise, feel free to paraphrase the text when you’re
taking note of events or themes.

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 • If you can, invest in a personal copy of the text. This lets you highlight, underline,
and make notes in the margins of significant passages as you go.

Study the context in which the author wrote the book. The work might be a

commentary on events going on in the author’s life or be reflective of biases held by

people in the author’s society. Knowing the context of the book may also help you
determine what the author’s goal was in writing it.

• When researching the context in which a book was written, consider the time
period, location (country, state, city, etc.), political system, and the biography of
the author. For example, a Russian expat writing in the 1940s about a
dictatorship may be making a statement on the Soviet Union or Joseph Stalin.
• Look into other books by the same author and see how the book you’re reading
compares to them in terms of story, subject matter, themes, and other details.
For example, many of Philip K. Dick’s novels focused on the nature of reality and
questions surrounding identity.
• Try starting on a site like Wikipedia. While it's not an academic source, it often
provides an overview of the topic and may link to other sources or even other
works by the author.

Establish the essential plot points of the story. The plot of a novel is typically
organized around a certain pattern which includes a problem, a climax, and a resolution.
Identify where these points occur in the story to better understand what message the
author is trying to get across.

• For example, if the characters in a novel are only able to resolve a problem by
working together, the author may be making a statement on the importance of
collaboration.

Determine the setting of the book and how it contributes to the

story. Although the setting of a novel can seem like background, it's often as important

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to the story as some of the characters. Consider how the setting of the story influences
your reaction to it or helps convey the story’s theme.

Settings can be symbolic. Reflect on the characters at a certain point in their

journey, and/or foreshadow certain key plot elements.

For example, ask yourself if a story that takes place in an isolated cabin during winter
would be significantly different if it took place in an apartment in a big city. If so, think
about why a different setting changes the meaning of the story.

Examine the actions, motivations, and beliefs of the characters. Books typically
have a main character (the protagonist), a villain (the antagonist), and an assortment of
secondary characters. While reading, think about why the characters do what they do
and what this says about them and their beliefs.

• You should also consider why the author would have their characters do the
things they do and what point they’re trying to make.
• For example, if a holy man commits a murder, ask yourself why the character
would betray his beliefs or why the author would seek to depict a holy man in this
way.

Consider how the author’s writing style affects the book’s story. Although
an author’s writing style may be the result of personal preference, it could also be an
intentional stylistic choice to influence a reader’s reaction to the story. Pay attention to
the author's style and ask yourself if it influences the story’s meaning.

Writing style includes the author’s choice of vocabulary, sentence structure, tone,
imagery, symbolism, and overall feeling of the story.

For example, an author may seek to impart a more humorous tone by using short,
choppy sentences and nonsensical words.

Identify the book’s principal theme or message. Most authors who write a
work of fiction will have a theme or message that they want their book to convey. Use

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your analysis of the plot, setting, characters, and writing style to determine what the
book’s theme is.

Some common themes include good vs. evil, growing up, human nature, love,
friendship, war, and religion.

A book may deal with multiple themes, with some themes being more obvious
than others. Often, themes are most visible in the beginning and end of a book. Re-read
these sections after your first read-through to help you evaluate the book's theme.

Make an outline to put your ideas and relevant information together. This is
especially useful if you’re writing a critical analysis of a book for others to read. Create
an outline that includes background information about the book and author, a summary
or description of the work itself, and your interpretation.

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Refferences:

1. Carrell, P.L. (1988) Interactive text processing: implications for ESL/second

language reading classrooms. In P.L. Carrell, J. Devine and D.E. Eskey (eds.)
Interactive approaches to second language reading. New York: Cambridge University
Press

2.Devine, J. (1988). The relationship between general language competence and

second language reading proficiency Implications for teaching. In P.L. Carrell, J.
Devine, & D.E. Eskey (eds.) Interactive approaches to second language reading. New
York: Cambridge University Press

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Book Report Work Sheet

Work with your group or partner, respect the conversation rules and use the information
below to discuss the book you are reading.

1.Most important or interesting character and why.

2. What is the seƫng? Why is the seƫng important to the story?

3. What do you know about the plot so far?

4. What questions would you ask the author if you could?

5. What new or interesting words have you found?

6. Read a selection as though you were the main character.

7. Discuss what makes this a fiction or a non‐fiction book.

8. Discuss why the title is a good choice or not.

9. What type of person would enjoy this book and why?

10. Would you recommend this book? Why or why not?

11. Finish this sentence: this book reminds me of……….

12. Make a prediction about what will happen next and why.

13. Discuss a recommendation you have for the author.

14. Retell a part of the story in your own words.

15. Come up with 3 feeling words and 3 seƫng words. (Scary, exciting, creepy etc.)

16. Discuss the main event and what leads up to the main event.

17. Compare / contrast 2 characters in the book.

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18. Give your book a rating 1‐5 (1 being not so good and 5 being very good.) and

discuss why you give this rating.

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 Module 3

PHILIPPINE POP CULTURE

At the end of the course you are expected to gain appreciation of the relevance of
reconnecting past culture with the present in attaining self-involvement in bridging the
generation gap and resolving the dilemma it brings to the society.

Philippine Movies

The early years of Philippine film, starting from the 1930s, were a time of
discovering film as it was at that time still a new art form. Stories for films came from the
theater and popular literature being, as they were, “safe”, with the filmmaker being
assured of its appeal. Nationalistic films were also in vogue despite early restrictions on
films being too subversive.

The 1940s and the war brought to Philippine film the consciousness of reality
which was not present in the preceding films. Filmmakers dared to venture into the
genre of the war movie. This was also a ready market especially after the war.

The 1950s were the Golden Years, a time when films matured and became more
“artistic”. The studio system, though producing film after film and venturing into every
known genre, made the film industry into a monopoly that prevented the development of
independent cinema.

The 1960s, though a time of positive changes, brought about an artistic decline in
films. The notorious genre of bomba was introduced and from that day forward has
been present in the Philippine film scene ever since.

The 1970s and 1980s were turbulent years, bringing positive and negative
changes. From the decline in the 60s, films in this period now dealt with more serious

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topics following the chaos of the Marcos regime. Also, action and sex films developed
further introducing more explicit pictures. These years also brought the arrival of
alternative cinema in the Philippines.

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The Pioneering Film by “National Artist” Jose Nepomuceno

1919-1929 “DALAGANG BUKID”

It was only in 1917 when a Filipino built a motion picture company and released in
1919 what would be considered as the first Filipino-produced and written film. Dalagang
Bukid (Farm Girl), is a silent film directed and produced by José Nepomuceno, the
Father of Philippine Cinema. It was based on a zarzuela written by Hermogenes Ilagan,
about a young flower vendor named Angelita forced by her parents to marry a wealthy
old man, Don Silvestre, despite her love for Cipriano, a law student. The film was
officially released on September 12, 1919 with English, Spanish, and Tagalog subtitles.

We may or may not associate the perennial fondness of the Filipino masses to
romantic-comedy films with this film, but what Dalagang Bukid achieved besides being
the first full-length Filipino film was the paradigm shift it created. Unfortunately, none of
Nepomuceno's early works survived the war period as the materials used at the time
were very fragile.

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Golden Age of Philippine Cinema

The '70s and '80s were the golden age of Philippine cinema, with films from
Lino Brocka, Ishmael Bernal, Celso Ad. Castillo, and Peque Gallaga. Filipinos
patronized these local auteurs who knew how to appeal to both critics and the crowd.
To mark a milestone in moviemaking, this era produced some of the worthy and
critically acclaimed Filipino made films in genre that covers drama, horror, erotic thriller,
suspense, comedy, fantasy. And two noted documentaries in recent times complete the
list.

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City After Dark (1980)

Ishmael Bernal's master piece City After Dark is widely considered to be one of the
Philippines' best movies. Released at the height of Martial Law, its gritty depiction of
what beautiful Manila transforms into after dark—full of violence and sex and gore—is a
metaphor for the times. It was originally titled Manila By Night, but former First Lady
Imelda Marcos allegedly requested the title changed so as not to tarnish the capital
city's reputation.

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Oro, Plata, Mata (1982)

The combination of a powerhouse cast (Joel Torre, Cherie Gil, Sandy Andolong,
Kuh Ledesma) and formidable director Peque Gallaga led to this stunning Filipino
classic. Set in Negros, Oro, Plata, Mata traces how the war affected the lives of two
aristocratic families. Its imagery and drama make it a case study in great Filipino
movies.

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Karnal (1983)

This award-winning Marilou Diaz Abaya film garnered several prizes at the 1983
Metro Manila Film Festival, included the coveted Best Picture. The story is brutal, but
the way it's told is compelling and also proves that Filipino audiences appreciate more
depth in films. Narcing (Philip Salvador) returns to the province with his wife Puring
(Cecille Castillo) to ask his father Gusting for his inheritance. Puring, feeling out of place
in the country, falls in love with Goryo (Joel Torre). As the story progresses, it is
revealed that Narcing's mother, who resembles Puring physically, is an adultress.
Reminded of his wife, Gusting attempts to rape his daughter-in-law; Narcing finds out
and kills his father. There are many more intricacies between and after these events,
and you'll need to really watch Karnal to understand why it's such a great Filipino movie.
The film has been nominated by ABS-CBN for digital restoration.

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High School Circa '65 (1979)

Most of the Philippines' critically acclaimed films are gritty and heavy, but this
Maryo de los Reyes classic sticks to the reality of high school, which is light, relatable,
and fun.

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Pagputi ng Uwak Pag-Itim ng Tagak (1978)

This Filipino film is a classic rich-girl-poor-boy romance brought to life by actors

Vilma Santos and Bembol Roco and director Celso Ad Castillo. Affluent Julie Monserrat
falls in love with student-slash-combo player (that's similar to today's DJ) Dido, and their
forbidden romance rocks the entire town.

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Gaano Kadalas Ang Minsan (1982)

Dindo Fernando, Vilma Santos, and Hilda Koronel play a man, his wife, and his
lover in this Danny Zialcita movie about the intricacies of marriage and adultery. The
popular Filipino movie won six prizes at the 31st Filipino Academy of Movie Arts and
Sciences Awards (FAMAS), including Vilma Santos' third Best Actress win. It lost Best
Picture to Cain at Abel.

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Himala (1982)

This 32-year-old Filipino classic is still receiving honors from all over the world.
Perhaps Ishmael Bernal's most popular film, the success of Himala needs no
explanation. A testament to its status as one of the most iconic Filipino movies of all
time is how people still reference its memorable lines: "Walang himala!"

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Tinimbang Ka Ngunit Kulang (1974)

A Filipino drama directed by Lino Brocka, this film features the debut of Christopher
de Leon as Junior. Tinimbang Ka Ngunit Kulang follows his coming of age as he
discovers love amid scandal and negativity. Young Junior befriends the village idiot
Kuala and the ostracized leper Berto. When Kuala becomes pregnant, chaos erupts
through the town. Dirty secrets are revealed, important characters die, and Junior
leaves his innocence behind this highly acclaimed Filipino film won six awards, including
Best Picture, Best Director, Best Actress, and Best Actor at the 23rd FAMAS Awards.

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Karunungang Itim (1976)

Directed by Noli Villar, this Filipino horror movie featuring a monster that tries to
feast on pregnant women stars Pinoy Bruce Lee Ramon Zamora, Leopoldo Salcedo,
and Lotis Key.

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Kisapmata (1981)

This psychological thriller put director Mike de Leon on everyone's radar. Though it
failed to gain viewers during the 7th Metro Manila Film Festival, it received widespread
acclaim. This gripping Filipino movie is about overly strict father Dodong Carandang
(Vic Silayan) and his daughter Mila (Charo Santos).

Mila falls in love with Noel (Jay Ilagan), and when she becomes pregnant, Dodong
allows her to marry, but under several conditions, including living under his roof. When
Dodong prevents Mila and Noel from sleeping together by creating various excuses, the
young couple escapes. During a confrontation, Dodong reveals that he is the father of
his daughter's baby. It only gets worse from there.

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Shake, Rattle, and Roll 2 (1992)

Directed by Peque Gallaga and Lore Reyes, the second installment of this
unending Filipino movie franchise features three episodes ("Multo," "Kulam," and
"Aswang"), each offering varying levels of spookiness.

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Paradise Inn (1985)

Legendary filmmaker Celso Ad. Castillo is known for directing iconic Filipino
movies. In Paradise Inn, Lolita Rodriguez and Vivian Velez play Ester and Daria
Paraiso, mother and daughter who run an isolated bar-slash-brothel. The film delves
into several themes, including politics, prostitution, and (a dysfunctional) family. It won
Best Film at the 1985 Metro Manila Film Festival and Velez even expressed interest in
starring in a remake.

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Scorpio Nights (1985)

Peque Gallaga's most famous erotic thriller is a must-see Filipino film. A peeping
Tom watches his neighbors have sex through a floorboard. Eventually, he gives in to his
desires and has sex with his neighbor's wife. They fall in love, but are caught by the
husband. The husband shoots the cheating lovers and then, after having sex with his
dead wife, kills himself. Critics consider Scorpio Nights as one of the most culturally
relevant Filipino movies of all time, as its provocative theme hides references to the
politics and economy of martial law. Erik Matti directed its sequel starring Albert
Martinez and Joyce Jimenez.

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Dahas (1995)

This Chito Roño crime-suspense thriller showcases perhaps one of Maricel

Soriano's best work. The complex plot of this great Filipino film begins with Soriano's
Luisa being raped the night before her wedding. When her husband Jake (Richard
Gomez) learns of this on their wedding night, he turns abusive. Luisa finds comfort in
Eric (Tonton Gutierrez) who, unknown to her, is her rapist.

Eric kills Jake to be with Luisa; Jake returns from the dead; Luisa ends up in jail when
she kills her husband for the second time. Eric, meanwhile, is killed by a former foe.
Soriano didn't win the top prize at the 1995 Metro Manila Film Festival, but co-star
Gomez did.

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Mang Kepweng and Son (1983)

Mang Kepweng was a popular comic strip by Al Magat about a funny village
albularyo. The character was brought to life by comedy legend Chiquito and it spawned
several installments, with Mang Kepweng and Son being the fourth film in the series.

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Ang Tatay Kong Nanay (1978)

A list of best Filipino movies would be incomplete without a Dolphy starrer. The
story revolves around beautician Coring (Dolphy) as he takes in Nonoy (Nino Muhlach),
who is the son of his crush. With Lino Brocka behind the camera, Ang Tatay Kong
Nanay delves into the themes of homosexuality and single parenting through a comedic
lens.

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Ang Panday (1980)

Flavio becomes the Panday after he creates a dagger from a magical meteorite.
This fantasy epic by Carlo J. Caparas follows Flavio's adventures with mermen,
zombies, vampires, and finally, the evil Lizardo. Panday is such an important figure in
Philippine filmography that it spawned several sequels, remakes, and even TV series.

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Bunso (2005)

Bunso, directed by Ditsi Carolino and Nana Buxani, shows the harrowing
experience of three children (Tony, 13, Diosel, and Bunso, 11) as they try to survive
surrounded by rapists and murderers in a Cebu jail. This award-winning documentary
has received honors from film festivals and critics all around the world—no small feat for
a small budget Filipino movie.

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Give Up Tomorrow (2011)

This documentary, directed by Michael Collins and Marty Syjuco, was back in the
headlines in 2018 after the release of Ysabelle Peach Caparas' Jacqueline Comes
Home. The Filipino movie controversially shows the side of convicted kidnapper and
murderer Paco Larrañaga and how his case was mishandled. Syjuco has admitted that
he's related to Larrañaga by affinity, but that doesn't take anything away from the merits
of this Filipino film.

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Pinoy Comics

The comics is a type of graphic medium which intends to communicate with its
audience via images and text presented in a single panel or series of panels that are
read left to right. In the Philippines, a local version aptly called komiks (a Tagalized
version of the English term), is produced by publishing houses such as Atlas Publishing,
the largest publisher of komiks in the country. Notable Filipino artists such as Carlo J.
Caparas, Vicente Manansala and Dr. Jose Rizal has written, illustrated or produced
komiks at some point in their lifetime.

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 The first indigenously produced comic strip in the Philippines would be Rizal’s “The
Monkey and the Tortoise”, a fable on how the wise tortoise outwitted the selfish and
devious monkey. This particular comic strip was published in 1885 in Trubner’s Record,
an English magazine edited by Dr. Reinhold Rost, as a direct compliance to Rost’s
request for Asian fables. Rizal’s “The Monkey and the Tortoise” did not incorporate the
use of speech balloons; instead, the conversation of the characters followed earlier
conventions and were written under the panels.

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 However, mainstream komiks would not appear again until the 1920’s, when
Liwayway Magazine first published Mga Kabalbalan ni Kenkoy, written by Romualdo
Ramos and illustrated by Tony Velasquez, pioneers of the modern Philippine comic
industry. Mga Kabalbalan ni Kenkoy illustrates the misadventures of the quirky yet
amusing title character, and his love for Rosing, the ideal Filipina woman of the period.
Kenkoy’s success spawned the Philippine komiks industry; his influence would extend
all the way from language, spawning the prominent use of Carabao English (or
Kenkoy’s English) in everyday colloquial discourse, to music, with Nicanor Abelardo’s
“Hay Naku Kenkoy!”

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 Indeed, Kenkoy catalyzed the spread of mainstream komiks in the Philippines, but
its heyday would come in the 1950s and 1960s. Tony Velasquez recruited writers and
illustrators for Ace publications, including future komiks giants Mars Ravelo (Darna,
Lastikman, Captain Barbell), Francisco Coching (Pedro Penduko, Hagibis), Larry Alcala
(Siopawman, Kalabog en Bosyo) and Alfredo Alcala, who would later draw for DComics
in the United States .

National Artist Vicente Manansala even produced his own titles from 1947 to 1949,
most notably Prinsesa Urduja, which became part of Pilipino Komiks, the best-selling
comic book in the Philippines, and Alias Kapitan Simangot. Carlo J. Caparas, a notable
director, once started in the local komiks industry creating characters such as Flavio in
Panday, Totoy Magtanggol in Totoy Bato, and Joaquin Apacible in Joaquin Bordado.

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 Traditionally, it has been viewed as a very potent medium of getting ideas across to
the Filipino populace, with approximately 30% readership (potentially more) at the
height of its popularity. During its golden age in the late ‘40s to the early ‘70s, as many
as 2.5 to 3 million copies of serialized komiks were circulated per week.

Recognizing the potential reach and influence of komiks, Communication

Foundation for Asia hitched on the bandwagon and produced Gospel Komiks,
translating the Gospel Readings into illustrated stories aimed at teaching children the
Bible’s message. Prior to this, another educational brand of komiks , Educational
Klasiks Komiks, was produced by Ace Publications; however, this publication did not
gain popularity, and was discontinued shortly after.

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 While komiks is regarded as a particularly low form of Philippine art, its influence on
Philippine culture is undeniable; it has even been regarded as the ‘pablum (or pabulum)
of art appreciation’ by various writers and artists. At its height, komiks provided Filipinos
the distractions they needed from the reality of society, with the medium appealing to
both the poor and the middle class, most of which cannot afford the more elitist forms of
art such as theatre and film. Most of the subjects in Philippine komiks were attached to
the mystical and the supernatural; however, other titles are more grounded in reality,
with some themes revolving around comedy, romance and melodrama which are still
popular subject matter in contemporary mainstream media.

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 However, as the years pass by, less and less of Philippine komiks are consumed by
the masses. Both readership and production has declined with the advent of other forms
of media and entertainment, such as television and video games. One wonders now if
this Filipino ‘art form’ will survive in the decades that would follow.

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Manila Sounds

Manila sound is characterized by catchy melodic phrases.[5] In its later period,

Manila sound was dominated by the disco mania that swept the Philippines, led by
groups such as VST & Company, The Boyfriends and Hagibis, among others.
Alternately described as "the marshmallow sound", Manila sound generated a string of
calculated radio hits by artists such as Cinderella, VST & Co., Apolinario Mabini Hiking
Society, Florante, Rico J. Puno, Sharon Cuneta, and many others.

Manila sound's unprecedented and meteoric appeal provided viability to a

Philippine recording industry that until then had relied on cover versions and imitation of
foreign hits to entice consumers. Unfortunately, in the genre's later years, formula-
addled lyrical bias toward camp humor and parody eventually caused Manila sound to
devolve into an explicitly theatrical, if not juvenile, subgenre, as exemplified by Hagibis
(a mimicry of the Village People) and The Boyfriends, until it diminished in the late
1970s under a wave of dance-oriented hits from American films such as Saturday Night
Fever, Grease and Footloose.

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Hotdog: The brothers Dennis Garcia, Rene Garcia and Jess Garcia and their original
discovery of a silk-voiced, affluently-bred Ella Del Rosario, created the legendary
Hotdog band in the mid-'70s, a reconfiguration of an earlier band called Red Fox, which
spawned what became known globally as the 'Manila sound'. Crafting melodic, radio-
megahit pop songs in a blend of homegrown Tagalog speak, combined with Ella del
Rosario's exclusive upper crust Spanish-American upbringing and cool slang language,
Hotdog etched an indelible mark in Philippine music history with multi-generational chart
toppers like "Pers Lab", "You Make Me Blush", "Manila", "Annie Batungbakal", "Bongga
Ka, 'Day", "Ikaw ang Miss Universe ng Buhay Ko", "Ako'y Bitin Sa Iyo ", "Langit na
Naman", "Pers Lab 2", and "Behhh, Buti Nga", among many others. Apart from
dominating Manila's music charts, the band was instrumental in bringing the sound and
quality of local pop music on par with international standards.

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VST and Company: Initially starting with the Sotto Brothers, the group scored a
number of disco hits such as "Disco Fever", "Awitin Mo Isasayaw Ko", "Kiss Kiss", "Step
No Step Yes", "Swing", "Tayo'y Magsayawan", and "Rock Baby Rock" along with
romantic ballads like "Ikaw ang Aking Mahal" and "Ipagpatawad Mo". Currently, VST
and Company has incorporated bossa nova influences in its music as evidenced by its
album, The Bossa Nova Collection: VST and Company. The group also help launched
the careers of some Filipino artists, particularly that of Sharon Cuneta.

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The Boyfriends: Famous for the song "Sumayaw, Sumunod" which became a big
disco hit, they also released the disco songs "Araw-araw, Oras-oras" and "Dance with
Me", and the love ballads "Nais Kong Malaman Mo", "First Love", and "Bakit Labis
Kitang Mahal".

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Cinderella: Pop band more commonly known for its love songs, particularly "T.L. Ako
Sa'yo", "Bato Sa Buhangin", "Sa Aking Pag-iisa", "Ang Boyfriend kong Baduy", "May
Crush Ako Sa 'Yo", "Pag-ibig Ko'y Ibang Iba", "Superstar ng Buhay Ko", and "Tulak Ng
Bibig, Kabig Ng Dibdib". Cecile Colayco and the late Yolly Samson were lead vocalists.
In its later output, Cinderella incorporated bossa nova in its repertoire, as exemplified in
the album The Bossa Nova Collection: Cinderella.

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Apolinario Mabini Hiking Society: More popularly known as the APO Hiking Society,
their album releases from 1975 to 1980 included many songs such as "Softly", "Love Is
for Singing", "Mahirap Magmahal ng Syota ng Iba", "Show Me a Smile", "Bakit ang
Babae Sa Tagal ng Pagsasama (Tila Mas Mahirap Maintindihan)", "Hanggang May
Pag-ibig", "Batang-Bata Ka Pa", "Nakapagtataka", "Pag-ibig", "Kabilugan ng Buwan",
and "Pumapatak ang Ulan". APO started out as a large musical ensemble, but was later
reduced to a trio consisting of Jim Paredes, Danny Javier and Buboy Garovillo, which
achieved great success during the 1980s, 1990s and 2000s. In December 2009, APO
announced its plans for retiring from active performance, citing "diminished creative
processes". After a series of warmly-received concerts in February 2010, the group
officially disbanded. Kami nAPO Muna, a tribute album, is a latter-day release.

Sampaguita: Folk rock band renowned for the hit singles "Laguna", "Bonggahan",
"Tao" and "Nosi Ba Lasi", among other songs.

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Hagibis: Members were Sonny Parsons, Bernie Fineza, Mike Respall, Joji Garcia, and
Mon Picazo. Song-and-dance male group known for its disco hits "Katawan", "Lalake",
"Legs", "Nanggigigil Ako", "Babae", and "Ilagay Mo Kid". The group's musical and
performing style nearly parallels that of the American disco group the Village People.

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Juan de la Cruz Band: was a Filipino rock band formed in 1968. The band originally
had six members: Wally Gonzales (guitars and vocals), Rene Segueco (organ and
vocals), Clifford Ho (bass and vocal), Romy Santos (wind instruments), Bobot Guerrero
(drums), and Sandy Tagarro (lead vocals). Sandy Tagarro left the band before the
band's first album "Up in Arms" was released. Wally Gonzales, in an interview later
credited Edmund "Bosyo" Fortuno of having coined the band's name though Bosyo's
collaboration with the band was not until 1981 with Juan Dela Cruz Band's 6th Album in
which he was the drummer along with Joey "Pepe" Smith. The band is known for their
hit songs “Himig Natin”, “No Touch”. “Titsers Enemi No. 1”, and “Balong Malalim”.

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Rey Valera: Pop artist and singer-songwriter known for releasing a string of romantic
ballads including "Di Mo Pansin", "Kamusta Ka", "Kung Kailangan Mo Ako", "Maging
Sino Ka Man", "Malayo Pa ang Umaga", "Naalaala Ka", "Pangako Sa Iyo", "Kung Tayo'y
Magkalayo", and "Kahit Maputi Na ang Buhok Ko", among others. He made his first
appearance in music with the group Electric Hair Band.

Sharon Cuneta: Pop singer/screen actress who started her musical career as a twelve-
year-old in 1978 when she released a Rey Valera composition entitled "Mr. DJ". She
also recorded a cover version of "I-swing Mo Ako", which was a VST & Co. original
release. Two other singles, "Kahit Maputi Na Ang Buhok Ko" (another Rey Valera
composition) and "High School Life" also received considerable airplay. She later
successfully crossed over into OPM, retaining and even increasing her commercial
appeal.

Florante: Folk-pop artist who recorded the inspirational song, "Handog". He is also
known for the hit songs "Ako'y Isang Pinoy", "ABaKaDa", "Pinay", and "Sana".

Rico J. Puno: Soul balladeer acclaimed for a number of hit songs, including "Lupa",
"Damdamin", "May Bukas Pa", "Kapalaran", "Macho Gwapito", "Sorry Na Puede Ba",
and "Diyos ang Pag-ibig", among many others. After the collapse of Manila sound, he
remained popular with the emergent OPM (Original Pilipino Music) genre. He was
likewise famed for recasting American pop songs (e.g. "The Way We Were") with
Tagalog lyrics with the aim of reaching a bigger sector of the listening public.

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References:

https://en.wikipedia.org/wiki/Manila_sound

http://www.aenet.org/family/filmhistory.htm

http://www.philippinestudies.net/files/journals/1/articles/2985/public/2985-3100-1-PB.pdf

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Guide Questions in Film Analysis

As you view films, consider how the cuts, camera angles, shots and movement work to
create particular meanings. Think about how they establish space, privilege certain
characters, suggest relationships, emphasize themes, or forward the narrative. In
addition to shot distances, angles, editing, and camera movement, note details of the
narrative, setting, characters, lighting, props, costume, tone, and sound. Ask yourself
the following questions:

• How is the story told (linear, with flashbacks, flash-forwards, episodically)?

What “happens” in the plot?
• How does the film cue particular reactions on the part of viewers (sound,
editing, characterization, camera movement, etc.)? Why does the film
encourage such reactions?
• Is the setting realistic or stylized? What atmosphere does the setting
suggest? Do particular objects or settings serve symbolic functions?
• How are the characters costumed and made-up? What does their clothing or
makeup reveal about their social standing, ethnicity, nationality, gender, or
age? How do costume and makeup convey character?
• What is illuminated, what is in the shadow? How does the lighting scheme
shape our perception of character, space, or mood?
• What shot distances are used? Do you notice a movement from longer to
closer shot distances? When are the various shot distances used (e.g., the
opening of the scene, during a conversation, etc.)? What purposes do the
shot distances serve?
• How do camera angles function? How do they shape our view of characters
or spaces?
• How do camera movements function? What information do they provide
about characters, objects, and spaces? Do they guide the viewer’s eye

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 toward particular details?Do they align the viewer’s perspective with that of a
character?
• What types of cuts are used? How are the cuts used (to establish rhythm,
shift between characters, transition between spaces, mark passage of time)?
Does editing comment on the relationships between characters and/or
spaces?
• Do different characters use different kinds of language?Do certain characters
speak through their silences? §
• What is the music's purpose in the film? How does it direct our attention
within the image? How does it shape our interpretation of the image? §
• How might industrial, social, and economic factors have influenced the film?
Do conditions in the filmmaking industry limit the way in which the film can
represent particular subjects? Does the film follow or critique dominant
ideologies? Does it reflect and shape particular cultural tensions?

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 Module 4

Indigenous Creative Crafts

At the end of this course you are expected to develop some good habits and
personal qualities for good craftsmanship, like perseverance, patience, self-awareness,
and resourcefulness.

Craft Making

For actual craft making, this segment o creates an opportunity for the students to
engage in actual craft making—for instance, Ilocano pottery. An actual pottery sample
may first be examined in class in terms of texture, material, and even use. Students
would then try their hand at actual pottery making. They learn the steps and discover
the skills to produce a clay vessel. In the course of the activity, they can: Discover the
techniques—for instance, the right pressure to apply, the moderation needed to handle
wet clay, and other technical details. Identify the tools used to create designs and
fashion the clay into their desired form. They may realize, for instance, that a kitchen
ladle could be a good paddling tool, or that a fork could be used to impress designs on
the clay’s surface. This way, students learn the traditional way of making Ilocano
pottery, which they may see from an invited artisan or even from a video documentary.
Also, innovation and improvisation are introduced and even encouraged. Explore
potentialities of the material and tools and gain insight into what makes one molding
material better than another. For instance, students can grasp how different types of
commercial clay behave compared to clay soil. In the area of visual problem solving, the
students can discover how to resolve tensions between opportunities - the means
available - and the restraints encountered, say, in clay molding. What does one do
when he or she discovers a weak layer of clay at the bottom of the vessel? Certain
issues would press for solutions, too. Where is the best place to conduct an open firing,

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for instance? What time of the day? What precautions should be observed? What kind
of skills would be needed to mold a newspaper, which has been soaked in water for
days and mashed? Could this be combined with other molding materials like clay soil or
commercial clay? How would one resolve its internal supports? In the case of paper
cutting, how does one remedy a situation where the paper is accidentally wet? Could a
cut-out still be executed on it? Issues of work space will also demand attention. How
should the work space be arranged? Is sitting better than squatting as one shapes the
clay? How do work habits affect the production of a craft? Is having a snack while
working compatible with pottery making or with other craftmaking activities, for that
matter? Other issues of interest are themes, subject matter, and the function of a craft.
Again in clay molding, what does one need the clay pot for, and how will its use
determine its size, shape, and design? Will it be painted over or glazed? Lastly,
students can also read about artisans and appreciate their philosophy, as well as their
social contributions, not least of which is to keep some traditions alive. However, a lot of
work in this aspect has yet to be done since traditional artisans are not famous and
celebrated. All the same, in looking at the artisans themselves, students can appreciate
various influences and contributions to an artisan’s work: training, experience, and
cultural and social backgrounds Art Criticism Art criticism has to do with “describing,
interpreting, evaluating, and theorizing about works of art with the end of increasing
understanding and appreciation of art and its role in society...”. Here, the roles of
“language, thoughtful writing and talk about art” come to the fore

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 T’nalak Weaving by the T’boli, Lake Sebu Batik

Cloth weaving

One of the most precious living traditions that are still kept until today is weaving.
Originating in the precolonial times, the art of weaving of the Cordillera tribal groups in
the North is still existing despite the threat of the more practical mass production of
cloth. The natives use backstrap loom to produce blankets and articles of clothing.Piña
cloth is also produced in looms throughout the province of Antique. It is a delicate and
exquisite handwoven cloth that is made from the fibers which you can get in the leaves
of pineapple plants. It is popularly used in Barong Tagalog, our traditional clothes.
Having its organic and airy textile, it is becoming more popular now around the
world.Abaca fiber come from the abaca plant that is endemic and grown in the country.
It is woven chiefly to make sinamay fabric. Abaca is popular in making a rope, specialty
papers like vacuum bags, currency, and tea bags. There are also handcrafts like bags,
furniture, carpets and clothing made of abaca.

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Basket weaving

Baskets are mainly used by the Cordilleras for their occupation. They use them as a
storage for their food when they need to go to mountain terraces to cultivate their lands.
A basket is needed for carrying grains, hunting animals, and fishing in the streams.
Baskets made of bamboo become their fish traps; the shape and size of baskets are
according to the kind of fish they want to catch.

Water Lily Basket Weaving, Las Pinas Ata Talaingod Liyang

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Jewelry making

Since the early 16th century, jewelry making in the country has been in existence. It
is believed that the skill of our early Flipino in making jewelry are adopted from their
Asian neighbors like the Chinese. Jewelry-making is a source of livelihood for the family
and it is traditionally a home-based industry. The government give their support and
attention in this industry. By this support, the country became the top producer of gold.
These are the two major product categories that the fine jewelry industry in the
Philippines are engaged for production. The first one is the precious metal jewelry,
which are made of gold and silver. It can be in the form of rings, earrings, bracelets,
brooches, pendants, necklaces, tie pins, and cuff links (with or without gemstones).
Decorative items like spoons and forks, and office items such as pen and pen holders
are also included in this category. Another production in the jewelry industry are the
pearls, precious stones, and semi-precious stones. These are unworked or worked
pearls. Colored gemstones like emerald, rubies, and sapphires are also in this group.

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 Poterry Vigan, Ilocos Sur

Pottery

Pots in the Philippines have different sizes, shapes, and designs. Their designs are
usually geometric with stylized nature motifs. Pottery became more functional as the
time pass by. An example of this is palayok, which is used for cooking. Banga and
tapayan are used for storing liquids. There is also the clay-made stove or "kalan". The
making of burnay pottery in Ilocos Sur is still a lively tradition that continues up to the
present.

Pottery in Aklan Guimaras Island

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 Manlililok Paete, Laguna

Woodcarving

Philippine sculpture is the most familiar art form among Filipinos. The most popular
woodcarving in the Philippines are carvings of the anitos (nature gods), santos (saints),
and statues of Christ and the Blessed Mother. Philippine sculpture have undergone
changes in terms of shape, size, and the medium used.

Woodcrafts of Banaue

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 Pintado Whang-Od,” Mambabatok”, Kalinga

Tattoos

Filipino tattoos have a rich history, dating back to before the Philippine Islands were
colonized by Spaniards. When Spanish ships first arrived there, they were greeted by
the heavily-tattooed Visayas tribe and they called the islands "La Isla De Los Pintados"
which meant "The Island of the Painted Ones". In the Philippines, tattoos were seen as
a source of accomplishment and rank. Men bore ink on their chests and heads as signs
of their strength as warriors. Women wore detailed lines on their arms and wrists
(Visays and Mindanao tribes) or full chest and arm tattoos (Luzon mountain tribes) and
they were seen as marks of beauty. Most tattoos were earned through the passage of
rites ceremonies, or for accomplishing tasks. The styles varied depending on the region
and tribe that the people came from.

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San Fernando, Pampanga Parol Making

Derived from the Spanish word farol, which means "lantern" or "light," it seems only
apt for the parol to have evolved into what it is now. When electricity came to
Pampanga, light bulbs replaced the candles that illuminated the parol. Soon after,
dancing lights were introduced—at first manually operated with various switches, until
the invention of the “rotor,” a mechanism that allowed for the lights to play out as
intended by the maker. Today’s Christmas lanterns feature bold patterns and tantalizing
light displays, made with all sorts of materials from shells to plastic, and even to
fiberglass.

Ligliligan Parul, San Fernando Giant Lantern Festival, Pampanga

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References:

https://steemit.com/traditional/@lapilipinas/philippines-ethnic-art-and-crafts

https://www.asj.upd.edu.ph/mediabox/archive/ASJ-45-1and2-2009/icasiano.pdf

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Student Activity

Make rolled paper 'wicker' baskets

marrietta.ru

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CLOCKWISE FROM TOP LEFT:
1. You need to cut long strips of newspaper to about 10cm wide. Fold the newspaper horizontally in
half and then half again, and use a sharp knife to cut into sections. I used a pine skewer for rolling
the tubes, but you can also use a thin knitting needle or 3mm dowel. Place the dowel on a corner of
the newspaper at an acute angle. This will give you a long tube.
2. Tuck under the corner edge and then roll with your fingers. There are various methods of rolling
the paper tubes, and after a couple of paper tubes you will work out which one works best for you. I
start off rolling with my fingers and then carefully lift the tube, holding the end of the skewer in my
right hand and rolling the paper around with my left.
3. When you reach the end, smear on a small amount of glue to secure in place. I have found the
best glue to be No More Nails. It's not runny, hold the paper firmly and dries quickly.
4. You will notice once you have made a few tubes that one end is ever so slightly narrower than the
other. Don't worry about this and you will find out why below.

CONTINUES BELOW

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CLOCKWISE FROM TOP LEFT:
1. For the base of the basket cut two rectangular pieces of cardboard. These can be any size
depending on how small or large you want the basket to be.
2. On side, place two rows of double-sided tape around the edges.\
3. Press down and secure the paper tubes in position. There are 13 tubes on the long side and 7
tubes on the short side.
4. Use double-sided tape to cover the top of the remaining piece of cardboard. Apply No More Nails
to the back and press this down over the cardboard with tubes. Place a heavy book on top and leave
to dry for an hour.
GOOD TO KNOW
You can also use masonite for the base of your basket, or continue to learn how to weave a
base for baskets, as I will be doing.

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 ABOVE: Here is the base for a square or rectangular basket. You can cover the top layer of
cardboard in any fabric you choose. I went for a black weave but next time I will try a burlap.

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CLOCKWISE FROM TOP LEFT:
1. To start weaving, join two tubes together as shown in the images just below. Bend in half and
thread around the first upright. This is where it gets tricky in the explanation, but I have included a
video at the bottom of this page that may help. The process is one tube in front - one tube behind
and twist around every single upright. Give this a try and you will understand what I mean.
2. As you weave and twist, make sure to pull the uprights up and keep the tubes nice and tight.
3. If you need to take a break, use a bulldog clip or peg to hold everything in place.
4. At the corners do an extra twist before you go round the corner and repeat the weave twist.

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How to make long tubes
As you reach the end of a tube, take a new tube and insert the narrower end into the end of the tube
you are using. Give it a twist so that it fits nice and snug inside.

CLOCKWISE FROM TOP LEFT:

1. As you weave and twist each row it's easy to extend the length of the paper tubes as you work.
2. Continue to add rows until you reach the desired height. I added a total of 7 rows.
3. This being my first attempt at any kind of weaving, I wasn't sure how to finish off the top row and
ended up just cutting off the strips. Only afterwards (10 minutes later) I discovered that you are
supposed to bend them over and push them down through the weave on the inside!
4. To finish off I sprayed on two coats of Rust-Oleum polyurethane spray. This provides protection
for the newspaper and also stiffens it up nicely. You can use Rust-Oleum 2X spray paint to add any
colour to your newspaper baskets.

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 ABOVE: my completed newspaper weave basket. Not perfect, but not bad for a first attempt.
My very first basket took about 4 hours, which included rolling all the paper tubes. It wasn't difficult
and I thoroughly enjoyed making it. Now I need to brush up on the various ways to finish off the top
and weave different designs.

Be inspired by some of the beautiful paper weave baskets created by blureco.blogspot.co.uk.

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