ST. JOHN COLLEGE OF BUUG FOUNDATION INC.

National Highway Buug, Zamboanga Sibugay

Vision:
A progressive institution of learning with high academic standards, molding and
transforming its students and graduates into men and women of integrity, steeped in the
values of nationalism, industry, service and appreciation for lifelong learning.
Mission:
Seeks to create an environment conducive for excellence, character formation, and the
development of the individual to be future leaders and responsible members of the global
community.

Core Values:
 Integrity
 Dedicated Service
 Competence
 Christian Values

Course no: GE 6 (BSCrim) / GEED 16 (BSBA)

Course Title: Art Appreciation
Course Credits: Three (3) Units
Pre-Requisite/s: None
Class Schedule: Monday, Tuesday and Wednesday (8:30 – 9:30)
Room:
Instructor: Voltaire B. Torrion
E-mail: voltairetorrion1013@gmail.com

Course Description:
Art Appreciation is a three-unit course that develops students' ability to appreciate,
analyze, and critique works of art. Through interdisciplinary and multimodal approaches this
course equips students with a broad knowledge of the practical, historical, philosophical, and
social relevance of the arts in order to hone students' ability to articulate their understanding of
the arts.
The course also develops students' competency in researching and curating art as well as
conceptualizing, mounting, and evaluating art productions. The course aims to develop students'
genuine appreciation for Philippine arts by providing them opportunities to explore the diversity
and richness and their rootedness in Filipino culture.

Course Intended Learning Outcomes:

At the end of the term, the students can:

A. Competencies
1. Demonstrate an understanding and appreciation of arts in general, including their
function, value, and historical significance
 2. Define and demonstrate the elements and principles of design
3. Explain and evaluate different theories of art
4. Situate Philippine arts in a global context

B. Skills
1. Analyze and appraise works of art based on aesthetic value, historical context,
tradition, and social relevance
2. Mount an art exhibit (concept development production and postproduction, marketing,
documentation, critiquing)
3. Create their own works of art and curate their own production or exhibit
4. Utilize art for self-expression and for promoting advocacies

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

WEEK TOPICS

Course Orientation: Grading System, Requirements, Relevance of the course

1 School Vision, Mission and Core Values Orientation
Class Rules
Assum tions and Nature of Arts: Creativity and Imagination

2 Functions of Art and Philosophy

3 Subject and Content of Art

4 Art and Artisans; Production Process, Medium, Technique and Curation

5-6 Elements and Principles of Arts

7 - 12 Art History : Asian, Western and Philippines

13 - 18 Soul Making ( Soul, Sound, Structure)

Film Making
Local Art

Number of Hours: 3 hours every week for 18 weeks or 54 hours in a semester

 Course Outline & Timeframe

  Art Appreciation Learning Plan

PRELIM
LEARNING
OUTCOMES TOPIC METHODOLOGY RESOURCES ASSESSMENT
To determine students* Course Group discussion: Gardner's Art through the Ages: Essay:
expectations of the course orientation Oral recitation A Concise History of Western If you were an
Grading Why study humanities? Art, Fred S. Kleiner, 3rd ed., artist, what kind
To characterize artistic expression system What is art history? 20121 pp. of artist will you
based on personal experiences What is art appreciation? 1-2 be?
Requirement
with art
s Why do people create Imagination in Teaching and What art field will
Relevance works of art? (individual) Learning, Kieran Egan, 1992, pp. you explore?
Differentiate art history from art of the 12-37 Why?
appreciation; course What is creativity?
Why is creativity necessary Nature and Young Children, How can you
Discuss the nature of art's Art history in artmaking? 2nd ed., Encouraging Creative utilize the arts to
When can you say that a Play and Learning in Natural express yourself,
preliminary ex ression Art person is creative? Environments, Ruth Wilson, your community,
appreciation 20121 pp. 1-17 and your relation
Art,creativity,
to others and with
imagination
the earth?
and the
expression

Clarify Assumptions of art (Art Lecture Art Perception and Appreciation, Insight paper:
misconceptions is universal; art is Dynamics Ortiz et 1976, pp. 5-12 Students will
about art; cultural; art is not select from the
Differentiate art nature, art involves Guide questions The Humanities, Dudley and following
from nature experience) (Art as topics
 expression, as a form of "Art is good because it is Faricy, 1968, pp. 5-22 (Nature of Why is art
creation) popular" or "Art is good Art) ageless and
because it is universal" timeless?
Categorize Visual arts (2D, 3D) Why is art universal? Alampat: An Introduction to Art
works of art by Film (Digital arts/analog) Appreciation, Perez, Cayas, Why is art not
citing personal Performance art Why is art not nature? and nature?
experiences Poetry—performance Why does art demand Narciso, 2013, pp. 9-12, 15-21
Architecture Why does art
involvement?
Dance The Humanities, Dudley Faricy involve
Characterize the and Rice, 1968, pp. 5-12 experience?
assumptions of Film Suggested activity:
the arts Literary Debate Alampat: An Introduction to Art
Theater Appreciation, Perez, Cayas, and
Applied Arts (Fashion, Narciso, 2013, pp. 9-12, 15-21
Furniture) (Imagination) pp. 38-40
Functions of art: Individual sharing Dayaw (6 episodes), Legarda, Oral recitation
Personal (utilitarian, What artform/artwork has 2015, online
Distinguish public display, changed something in Group
expression) your life? Why? Art: Perception and Appreciation discussion and
directly Social (used for public Ortiz et al., 1978, pp. 27-32 plenary
functional and display and presentation
indirectly celebration, used to Film Viewing: Alampat: An Introduction to Art
functional art Video Documentary "Sa Appreciation, Perez, Cayas, and
affect the collective
Duyan ng Sining" Narciso, 2013, pp. 23-25
behavior) Physical
Apply concepts (utilitarian) (Jesuit Cultural Center of the
and theories on Communications) Philippines,
beauty and Philosophical import of art "Tuklas Sining n CCP Tuklas Sining, DVD Reflection
aesthetics in integrity questions:
Discuss basic "The Philosophical Concept of Does art always
real life Proportion/Consonance philosophical perspectives Beauty," Jacques Maritain (from
scenarios Radiance/Clarity have a
such as. (Suggested Creative Intuition in Art and function?
topics)
Poetry), 1953, pp. 122-127
Art as mimesis (Plato) If artwork did
Art as representation Aesthetics and Art Theory, not have any
(Aristotle)
Osborne, 1970, pp. 104- function, will it
Art for art's sake (Kant) 107,142144, 171-191, 226-283 remain art?
Art as an escape
Art as functional
Differentiate Subject type. Lecture Alampat: An Introduction to Art Gallery visit
content from Representation Appreciation, Perez, Cayas, and
subject (with subject) and Provide classic Narciso, 2013, pp. 27-34 Reflection paper
nonrepresentational examples on students'
Classify (without subject) Cultural Appropriation and the experiences
artworks What are the two types of Arts, Young, 2008, pp. 1-27 during visit to a
according to Source of subject representing subject? gallery or
subject Art: Perception and Appreciation,
(nature, history, Greek and museum
Roman mythology, What are the sources and Ortiz et al., 1978, pp. 14-26
JudeoChristian tradition, kinds of subject?
Analyze how
artists present sacred oriental texts, other
works of art) Assign students to bring
their subjects in either digital or printed
relation to the copies of Filipino
real subject Kinds of subject contemporary artworks
(history, still life, animals, to be presented orally or
figures, nature, landscape, using Powerpoint;
seascape, cityscape, Identify and discuss the
mythology, myth, dreams, source, type, and kind of
and fantasies sub•ect
Characteriz Content in art
e sources (levels of meaning)
and kinds of 1. Factual
art 2. Conventional
3. Subjective
Artists and artisans Video Documentary Myths and Symbols Oral recitation
Philippines,
Managers, curators, Lecture Francisco Demetrio, SJ, 1978, Quiz
buyers, collectors, art Topics to be pp. 406-41 1
dealers discussed. Organize a
forum about an
Identify the Alampat: An Introduction to Art artist; artist's or
Production process What is the difference
medium in Appreciation, Perez, Cayas, artisan's
various forms (preproduction, between artists and
production and and Narciso, 2013, pp. 35-56 brochure and
of art, viz., artisans? What is the
postproduction) relationship between video clip to be
visual, auditory, MAKING THE THEATRE uploaded on
and combined artists and artisans Q
Medium, technique Craft of the Stage, Steven social media
arts approach (in visual Patrick C. Fernandez, 2010, (Note: before
Which is more
arts auditory, and important, the artist or pp. 15 -20 uploading, the
(K) combined arts) teacher will
Define an the artwork Q
"Pioneers of Philippine Art," check the
artist's or GAMABA video documentary directed output for
artisan's What are medium and by F
National Artists technique? validation and
medium and Capistrano-Baker, Ayala observance of
technique Events/Exhibits/Managing What are new trends or Museum, 20061 29min. ethics)
Audience practices in art?
(K) Art: Perception and Preliminary
Define the Appreciation, examination
What is the role of
role of Ortiz et al., 1978, pp. 14-26,
the following
managers, 40-73
figures mana ers
curators,
curators
buyers, Festival and Events
collectors, art Management,
dealers in the Yeoman et al., 2004, pp. 53
art world -115
Differentiate buyers, collectors, art The Role of the Art Critic, Exhibit of
between dealers) in the Flores, in Paleta 5: A artists and
artists' and community? Handbook for Visual Artists, ed artisans'
artisan Hernandez, 2002, pp. 27-31 portfolio
approach/ Students will be Mini-exhibit of
technique assigned to discuss the How to Document One's Work, artists'/artisans'
toward a characteristics of Cajipe-Endaya, in Paleta 5: A
different art work
particular Handbook for Visual Artists,
medium expressions (7 arts) 2002, pp. 24-26
Understand Interview of artists / How to Document a Structure,
that the studio visit (off campus) RT
artisan's work
is an end in Jose, Balangkas, 20071 pp.
itself and the 25-28
artist's work is
a means to an
end

(K)
Identify
national and
GAMABA
artists'
notable works
and their
contribution to
socie
(K) Elements of art Lecture/ illustration / Sining at Lipunan, Flores and Quiz
Visual Discuss basic De la Paz, 20001 pp. 24-26 (identification)
Identify the
elements of Auditory elements and oral
Art in Focus, Interactive
art Combined recitation
Assign students to Student
discuss
 Page 5 of 16
Analyze the Arts/Performance art the elements of the 7 arts (visual arts, ed., Gene A. Analysis paper by
various film, literature, dance, film, architecture Mittler, 2006, pp. group:
Discuss fusions and music), then conduct an FGD to look 2639 (Elements), Choose a
present in overlapping and into the variations, overlapping, pp. 40-49 contemporary work
visual, interrelated elements dominant elements in art production in (Principles) and discuss the
auditory, and Graffiti, a particular art expression subject) medium,
combined arts poetryperformance, Alampat: An
performance art, and technique,
Suggested topic Introduction to Art Discuss further how
digital art How do artists recreate, transform, or Appreciation,
Determine the artist utilized the
translate one art-form into another Perez, Cayas,
dominant Transcreation elements and
work? and
elements used Music to text principles of design
in hybrid or Narciso, 2013, pp. in an artwork
Text to dance Suggested exercises
modified art 61- 95
expressions Dance to visual 1 Analog drawing (Elements), pp.
2. Room design 97-106 (Principles)
3. Visual tapestry
Determine the 4 Soil/coffee art Art: Perception
factors (value) and Appreciation,
influencing 5. Illustration (lines, texture, form) Ortiz et 1978, pp.
artists such as 6 Scribbling souls 75-179
distortion, (color)
transformation 7. Creative writing Merce
, appropriation (erasure) Cunningham: Fifty
in an 8. Dula-tula Years,
experimental (poetryperformed) Vaughan and
or hybrid art 9. Poem writing Harris, 1997, pp.
expression 10,
10. Performance art/
60-61, 100-101
(dance technique)
(K) Principles of design Lecture/illustration Art in Focus, Mittler, 2006, pp. Essay
Identify Unity and harmony 2639 (Elements), pp. 40-49
the , Rhythm, variation Exercises: (Principles) Collaborative
principles Product design room design
of design
Balance and
critiquing Alampat: An Introduction to Art
proportion With rubrics
• Emphasis and
Appreciation, Perez, Cayas,
(K) subordination and
Define and (focalpoint) Narciso, 2013, pp. 61- 95
translate (Elements), pp. 93-97
principles of (Principles)
design in an The rule of thirds
artwork

Create an
artwork
depicting
the various
principles
of desi n
Prelim Period Partial Requirement:
Present an experimental art expression based on recent issues in society fusing art and reality; function and beauty;
weaving sound, image, form, scent, and space. Students will submit a concept paper or script and production in a
specific site, either a physical stage or mobile, web (on-line) or any form of guerilla art expression. Prior to the
performance, concept paper must be submitted for guidance and critiquing. Posters, audience evaluation, and
documentation will be required and will be submitted after the erformance. Runnin time will be based on the conce t.
 MIDTERM
LEARNING
OUTCOMES TOPIC METHODOLOGY RESOURCES ASSESSMENT
(K) Reading the image Lecture Image to Meaning: Essays Read and
Identify various planes Semiotic plane on Philippine Alice research about
in art • Iconic plane Demonstration Guillermo, 20011 pp. 1 -16 selected Western
Contextual plane simulation and Asian art

Art history

(K) Cave art, Egyptian Lecture Art through the Ages: A Designed rubrics
Identify the and Greek Global History. Kleiner, for creative output
underlying history, Creative presentation 15th ed., 2016, pp. 1032-
philosophy of the Roman, Medieval, 1047 (South and Quiz
era or movements Gallery walk Southeast Asia,
Chinese Painting, 1200-1980), pp. 1048-1063 Oral recitation
Ukiyo-e (Japanese Games (China and Korea,
12791980)) pp. 1064-1066 Brochure about
Classify the various print) Talk show their respective
(Japan, 1333-1980), pp.
art movements by 9941031 (Contemporary topics
citing their important Renaissance and Art Worldwide), pp. 948-
characteristics such Mannerism, Video documentary 993 Long test (true or
as historical Baroque and (Modernism and false identification,
background, factors, Rococo Postmodernism in Europe fill in the blanks,
influential person, and America, 1945-1980) enumeration,
socio-political issues, Neo-classicism, essay) Individual
and revalent artists art
Romantic and Art in Focus, Mittler,
Realism out ut:
2006 pp. 136-471
(classic), pp 492-562
Impressionism
modern art
Post-Im ressionism
forms, and media Neo-impressionism modern/classical
works
(S) Symbolism, Art
Present the Nouveau Cave Art to Modern Art, in appropriation
history and Fleming's Arts and Ideas, through
movements of Fauvism and 10th ed., Mary Warner photography
the arts through Expressionism Marien and William
a timeline Fleming, 2005, pp. 1-654
Cubism, Futurism
Art: Perception and
Cite important Abstract or non- Appreciation, Ortiz et al.
characteristics in objective 1978, pp. 163- 229
an artwork based - Dadaism and
on the era Surrealism Alampat: An Introduction
movement to
Constructivism, De Still
(document and Art Appreciation Perez,
Abstract Cayas, and Narciso,
annotate works) expressionism 201 3, pp. 113-129
Optical Art, Pop Artl
Minimalism, Conceptual ArtSpoke, Robert Atkins,
Art 1993, pp. 43-415

(K) Instrumental music: Brief lecture Music as Discourse: Creative output/

Identify the Baroque (Johann Semiotic Presentations:
various genres in Pachelbel, Antonio Creative Adventures in Romantic
music Vivaldi, Johan presentation (from Music, Agawu, 2009 Students will
Sebastian Bach solo to group, interpret music
depending on The Human Image in through their own
George Frederic the Arts, Fernandez,
Make a creative students' interests in art expressions
Handel, Franz 2009, pp.
interpretation of art expression) (music video,
Schubert 65-76
the different dance, poet live
musical painting,
genres Classical (Joseph Art Perception and flEm, digital art,
Haydn, Appreciation, Ortiz et al magic,
Wolfgang 1976, pp. 98-121 experimental, etc.)
Translate sound Amadeus
or music into a Mozart, Ludwig Who Needs Classical
new form and in Van Beethoven, Music?
a new context Franz Cultural Choice and
Schubert) Musical
Romantic (Carl Value, Johnson, 2002
Maria
Von Weber, Frederic
Chopin, Robert
Schumann, Franz
Liszt, Richard
Wagner,
Jacques Offenbach,
Johannes Brahms,
Pyotr tlyich
Tchaikovsky,
Nikolai
Rimsky, Korsakov,
Richard Strauss)
Modern (Claude
Debussy, Arnold
Schoenberg,
Maurice Ravel, John
Cage,
Phili Glass
MIDTERM EXAMINATION
A paper that analyzes their own respective topics; comparison, difference of factors, influential persons, styles, subject,
technique affectin the era or movement; notable artists and works; semiotic lane, iconic lane, contextual lane, and
evaluative lane
FINALS
LEARNING
OUTCOMES TOPIC METHODOLOGY RESOURCES ASSESSMENT
(K) Soulmaking Lecture Soulmaking, Narciso, Individual
Discuss the (artmaking): 2016 reflective essay
concept of Crafting images Demonstration (8 images and 80
Crafting stories Mick Basa, The Soul words to describe
"soulmaking" self)
Crafting Simulation Maker 2013, online
(S) instruments
performance Workshop Nature and Young Quiz
Develop
students' artistic Children, Art output with
potentials 7 da Vincian principles 2nd ed., Encouraging rubrics
through Creative Play and
soulmaking Learning in Natural Art portfolio
Environments, Ruth
(V) Wilson, 2012, pp. 3-17 Organize an
Enhance advocacy art
students' Dela Cruz et al., Art or immersion
sensitivity and Republik, 2012, or workshop
awareness video, 10 episodes
toward their for the
environment community

(S)
Extend to the
immediate
community the
students' art
works as a form
of service
learning (e.g.
recyclable
materials)
Characterize and Narratives, Lecture ned Cultural Appropriation Creative output
 appropriation, Students are and the Arts, Young, Students will
borrowing, and assi 2008, pp
define narratives ownership to 1-27

appropriation, Posit five (5) acts of look for works that Black Film as a appropriate an ad
borrowings, cultural appropriation have been Signifying Practice: in any form, take a
and ownership 1. Object appropriated in any Cinema, Narration and picture of it and
of the artists or form; Discuss and the African-American create another
any agency in appropriation compare the old and Aesthetic Tradition poster that
the art world 2. Content new meanings Year-wood, 2000, p. 124- incorporates their
3 Style 129 new concept
(S) 4. Motif Suggested topics:
Contextualize appropriation What contemporary Essay
classical notable art forms or art
works into a
5. Subject expressions utilize
certain theme and appropriation the principle of
comment on a appropriation?
certain issue, Why do they
either on a appropriate? What art
personal or forms are commonly
societal level appropriated?

Develop students'
artistic ability in
any form they
would like to
appreciate an art
Textile art Video documentary Hinabing Panaginip, Reflective essay
Draw out Soul, dreams and Fruto
metaphors from imagination Brief lecture Corre, Bookmark video, Quiz (multiple
local myths so 1999 choice,
students will value Tnalak process Illustration enumeration,
cultural roots Tnalak and T'boli art Myth, Mimesis and Magic identification)
Mind mapping
Dagmay, in the Music of the Tboli,
 Pis-yabit Seputangan Mora, 2005, p. 66-68
Inaul
Deepen students Alam at: An Introduction
understanding of to

imaging Art Appreciation, Perez,

Cayas, and Narciso,
2013, pp. 34-40
(imagination)

Sinaubang Habi.
Philippine Ancestral
Weave, PastorRoces,
Marian, 1991, pp.
206-305
(K) Visual elements in Lecture Sourcebook of Philippine Quiz
Analyze how line Philippine Traditional Motifs and
was interpreted traditional motifs Workshop Crafts Individual output
and utilized in and crafts FGD with rubric
Processes, Mercedita
traditional crafts Jose Visual tapestry
(S) Decorative motifs and Dela Cruz, 19821 pp.
Develop symbols, classification 18-34
students' ability
in manipulating Ukkil: Visual Arts of the
the elements of Sulu
art Archipelago, Ligaya
Fernando—Amilbangsa,
(V) 2005, pp. 15-38
Document
changes and the
shifting
environment
such as terrain,
texture, sound
through fusion of
various elements
of art

(K) Soul and space. Lecture The Maranaw Torogan, Oral recitation
Determine the Torogan Madale, 1996, pp. 7-31
Video documentary Build miniature
implications of Ifugao Bate skeletal or
sout and space for Bahay Kubo Collaborative artistic structural stilt
our society Bahay na Bato houses
work
Other indigenous
(K) houses Group activity with
Characterize rubrics
how Filipinos
utilize space to
determine its
implications for
their identities,
history, religion,
philosophy
(K) Symmetry art Lecture Ukkil: Visual Arts of the Portfolio of Okir
Discuss the Okir/Ukkil Demonstration Sulu inspired artworks
concept of Okir in workshop Archipelago, Ligaya in the city or
relation to Islamic Fernando-Amilbangsa, community
Art Locate okir inspired 2005, pp. 174-175
artworks in the city
(paintings, drawings, Artistic output
Identify the parts architecture, functional symmetry art
of toots, jewelries,
Okir/Ukkit furniture, fabric or
fashion)
Create a
symmetry art
inspired by Okir/
Ukkil

(K)
Determine the
cultural relevance
of the Okir
(K) Improvisation in various Lecture Choreography: A Basic Workshop with
art forms Approach Using rubric
Define
Demonstration Improvisation, Minton,
improvisation Contact-body 1986, pp 18-19 Quiz
improvisation Simulation
Utilize the body (Flow, stacattos chaos, Improvisation for the Oral recitation
as the basic tool lyrical, stillness) FGD
Theater, Spolin, 3 rd ed. Group dynamics
in expression Performance art 1999 (entire book)
and Sound improvisation with rubrics
simulation
communication (e.g., planking, flash Culture of Improvisation,
Theatre improvisation
mob, happenings) Antoiihao, 2004, pp. 83-
(V) Solving 84
Strengthen Video documentary
improvisational
students initiative challenges The Wave Dance,
and artistic Roth, 2008, onfine
sensibilities
The Way of Improvisations
Morris, 2011, online
Trace and Indigenous art Lecture Local Community Reflective essay
summarize the Immersion
development of Muslim art Creative presentation Quiz
Galtery/studies or Exam
the arts, art Christian art Exhibit (online and workshop visit
appreciation and actual)
aesthetics in Contemporary art (immersion/research of
contemporary art their own community)
practice Practice and movement

(V)
Appreciate
better the
history and
development of
Philippine arts
Partial A five-minute individual art talk; a summative, application or reflection of all the ideas and
Requirement concepts that students have learned by discussing any topic/theme, artwork, concepts, ideas,
Long test nature of the art; either cultural, artistic, historical, object, artifact, movement, practice.
  Art Appreciation Course Map
GENERAL EDUCATION (G.E.) OUTCOMES Ar Appreciation
t

KNOWLEDGE

1. Analyze "texts" written, visual, oral, etc. critical L

2. Demonstrate proficient and effective communication (writing, speaking, and use of new technologies) L

3 Use basic concepts across the domains of knowledge L

4. Demonstrate critical, analytical, and creative thinking L

5. Apply different analytical mode in problem solving L

VALUES

1 Appreciate the complexity of the human condition O

2. Interpret the human experience from various perspectives P

3 Examine the contemporary world L

4 Take responsibility for knowing and being Filipino L

5. Reflect critically on shared concerns O

6. Generate innovative practices and solutions guided by ethical standards O

7. Make decisions based on moral norms and imperatives O

8 Appreciate various art forms P

9. Contribute to aesthetics P

10 Advocate respect for human rights O

11. Contribute personally and meaningfully to the country’s O

development
SKILLS

1 . Work effectivel in a rou

2. Apply computing tools to process information effectively o

3 Use current technology to assist and facilitate learning and research

4. Negotiate the world of technology responsibly O

5. Create solutions to problems in various fields O

6. Manage one's knowledge, skills, and values for responsible and productive living O

7 Organize one's self for lifelong learning O

Legend
L = Learned
P = Practiced
O = Opportunity to learn
  Teaching Strategies:

Every class has unique teaching strategy applicable to the lesson for the day. Generally, students
should participate in the individual and group activities such as recitations, board works, group
discussions and group reporting. The instructor is also expected to have review of the past lessons,
motivation, generalizations, valuing and application before, during and after the discussion.

 Assessment:
Varied evaluation strategies will be utilized to document learning achieved in this course. One
hundred percent (100%) is the highest point one can earn based on the following parameters:
Class Attendance/ Assignment - 20%
Quizzes/ Oral Presentation - 40%
Major Examination - 40%

 Grading System:
1.0 = 97 – 99 Excellent
1.25 = 94 – 96 Superior
1.5 = 91 – 93 Very Good
1.75 = 88 – 90 Very Good
2.0 = 85 – 87 Good
2.25 = 82 -84 Good
2.5 = 79 – 81 Fair
2.75 = 76 – 78 Fair
3.0 = 73 – 75 Passing
5.0 = 68 -72 Failed

 Class Requirement:

Students are required to pass index card for recording purposes of their oral participation.

 On Attendance:

Absences without prior notification to the teacher are not considered excused. In emergency
cases, medical certificates may be presented for students admitted to hospitals to be excused.

Other concerns:

Students should have their own copy of the furnished handouts made by the teacher if available.
However, in the case of reporting activity, students may create summary or handouts and provide visual
aids for the class.
  Art Appreciation Required Readings and Other Materials
Books
 Agawu, Kofi (2009) Music as Discourse: Semiotic Adventures in Romantic Music. New
York: Oxford University Press.
 Antolihao, Lou (2004) Culture of Improvisation. Quezon City: Institute of Philippine
Culture, Ateneo de Manila University
 Atkins, Robert (1993) ArtSpoke: A Guide to Modem Ideas, Movements, and Buzzwords,
1848—1944. New York:
Abbeville Press.
 Cajipe-Endaya, Imefda (2002). How to Document One's Work. In Paleta 5: A Handbook
for Visual Artists, ed. Eloisa May Hernandez, pp. 24-26. Manila: NCCA.
 Dela Cruz, Mercedita Jose (1982) Sourcebook of Philippine Traditional Motifs and Crafts
Processes. Manila: Philippine Committee for [the Unesco] Internation.
 Dudley, Louise and Austin Faricy (1968) The Humanities: Applied Aesthetics. 4th ed. New
York• McGraw-Hill.
 Demetrio, Francisco (1978) Myths and Symbols Philippines. Manila: National Bookstore-
 Egan, Kieran (1992) Imagination in Teaching and Learning: The Middle School Years.
Chicago: University Chicago

 Fernandez, Steven Patrick (2010) Making Theatre: The Craft of the Stage. Iligan City:
MSU-lligan Institute of Technology, Mindanao State University.
 Fernandez, Steven Patrick (2009) The Human Image in the Arts. Iligan City: IPAG Arts
Resource Management, Inc. Fernando-Amilbangsa, Ligaya (2005) Ukkil: Visual Arts of the Sulu
Archipelago. Quezon City: Ateneo de Manila University Press.
 Flores, Patrick (2002). The Role of the Art Critic. fn Paleta 5: A Handbook for Visual
Artists, ed. Eloisa May Hernandez, pp. 27-31. Manila: NCCA.
 Flores, Patrick and Cecile Sta. Maria de la Paz (2000) Sining at Lipunan. Manila: Sentro
ng Wikang Filipino, Sistemang Unibersidad ng Pilipinas.
 Guillermo, Alice (2001) Image to Meaning: Essays on Philippine Art. Quezon City: Ateneo
de Manila University Press. Honour, Hugh and John Fleming (2009) A World History of Att. 7th
ed. London: Laurence King Publishing.
 Johnson, Julian (2002) Who Needs Classical Music? Cultural Choice and Musical Value.
New York: Oxford University Press.
 Jose, Regalado T rota (2007) How to Document a Structure. In Balangkas: A Resource
Book on the Care of Built Heritage in the Philippines, ed. Fernando Zialcita, pp. 25-28. Manila:
NCCA.
 Kleiner, Fred (2012) Gardner's AH Through the Ages: A Concise History of Western AH.
rd
3 ed. Belmont, CA' Wadsworth.
 Kleiner, Fred (2016) AH through the Ages: A Global History. 15th ed. Boston: Cengage
Learning.
 Madale, Abdullah T. (1996) The Maranaw Torogan. Manila: Rex Book Store.
 Maritain, Jacques (1953) Creative Intuition in AH and Poetry. New York: Pantheon Books.
 Marien, Mary Warner and William Fleming (2005) Fleming's AHS and Ideas. 10th ed.
Belmont, CA: Wadsworth. Minton, Sandra (1986) Choreography: A Basic Approach Using
Improvisation. Illinois: Human Kinetics Publishers.
 Mittler, Gene A. (2006) AH in Focus. 3rd student ed. New York: McGraw-Hill/Glencoe.
  Mora, Manotete (2005) Myth, Mimesis and Magic in the Music of the T'boli, Philippines.
Quezin City: Ateneo de Manila University Press.
 Narciso, Norman (2016). Soulmaking. Davao City: Aletheia Publications.
 Ortiz, Ma. Aurora, Teresita Erestain, Alice Guillermo, Myrna Montano, and Santiago A.
Pilar (1976) Art: Perception and Appreciation. 13th printing. Manila: University of the East.
 Osborne, Harold (1970) Aesthetics and Art Theory: An Historical Introduction. New York:
E. P. Dutton.
 Perez, Teody Boylie, Rogelito Cayas, and Norman Narciso (2013). Alampat: An
Introduction to Art Appreciation. Davao City: Blue Patriarch Publishing House
 Pastor-Roces, Marian (1991) Sinaubang Habi: Philippine Ancestral Weave. Nikki
Coseteng Filipiniana Series, 1.
Manila: Nikki Books.
 Spolin, Viola (1999) Improvisation for the Theater: A Handbook of Teaching and Directing
Techniques. 3rd ed.
Evanston, IL: Northwestern University Press.
 Vaughan, David and Melissa Harris (1997) Merce Cunningham: Fifty Years. New York:
Aperture.
 Wilson, Ruth (2012). Nature and Young Children: Encouraging Creative Play and
Learning in Natural Environments. 2 nd ed. New York: Routledge.
 Yearwood, Gladstone L. (2000) Black Film as a Signiÿing Practice: Cinema, Narration and
the African American Aesthetic Tradition. Trenton, NJ: Africa World Press.
 Yeoman, Ian, Martin Robertson, Jane Ali-Knight, Siobhan Drummond, and Una
McMahon-Beattie (2004) Festival and Events Management: An International Arts and Culture
Perspective. New York: Taylor and Francis.
 Young, James O. (2008) Cultural Appropriation and the AHS. Malden, MA: Blackwell
Publishing.
Videos and Other Materials

 Basa, Mick (2013) The Soul Maker. Online, http://durianwriter.wordpress.com/tag/noy-

narciso/
 Capistrano-Baker, Florina (2006) Pioneers of Philippine Att. Makati: Ayala Museum and
Dreampulse Production, video,
32.25 min.
 Corre, Fruto and Nancy Pe-Rodrigo (1999) Hinabing Panaginip (Dream Weavers),
Bookmark video, 45 min.
 Dela Cruz, Elvie, JL Burgos, Imelda Morales, Opaline Santos, Ria Torrente, Kathrina
Reston, Tom Estrera Ill, Allan Alcantara, Erwin dela Cruz, Rene Bayking, and Joel Laserna
(2012). Art republik. Asian Christian Arts Association, Inc. video. Episode 1: Siblings in Art;
Episode 2: Spoken Words; Episode 3: Performing Bayanihan; Episode 4: Space and Sound;
Episode 5: Artists by Night Director's Cut; Episode 6: Tambayan; Episode 7: On Women;
Episode 8: Skin, Street and Comics; Episode 9: The Old and the New; Episode 10: The
Collector; and Episode 11: The Winner Is. Kleon, Austin (2012) Steal Like An Artist. TEDxKC.
Online, https://www youtube.com/watch?v=oww70B9rjgw, 11:14 min.
 Legarda, Loren (2015) Dayaw Episode 1 "Lupa, Karagatan, Kagubatan." NCCA. ABS-
CBN News Channel Production. Online, https://www youtube.com/watch?v=uDvufr-3xFw, 23.30
min.
 Legardas Loren (2015) Dayaw Episode 2 "Mito, Kwento, Musika." NCCA. ABS-CBN News
Channel Production. Online, https://www youtube.com/watch?v=3Xp6PLC6xJU, 21.20 min.