Republic of the Philippines

CAMARINES SUR POLYTECHNIC COLLEGES

Nabua, Camarines Sur
CSPC-F-COL-13B

VISION
Polytechnic education at its best for the Bicolanos. VIII. Within 3-5 years after graduation, the graduates of Bachelor in Public
MISSION Administration are expected to:
Transforming lives to be free of poverty by creating a better future through world class polytechnic
education and technological innovation.
SYLLABUS
IN
QUALITY AND ENVIRONMENTAL POLICY At the end of this program, the students are expected to be able to:
CSPC commits to provide the highest standards in total customer satisfaction in accord with legal and other ART APPRECIATION
requirements to satisfy current and future needs of clients and stakeholders; uphold good governance PEO 1: Well-Rounded Professionals1st Semester S/Y 2021-2022
conditions; and sustain the integrity of the environment and its resources through continual improvement of Graduates will perform best and be at par with their chosen fields in public
its quality and environmental management system.
GOALS AND OBJECTIVES
administration – academe, government, non-government organizations, civic
1. Produce professionally competent graduates who are responsible Filipino and global citizens by providing I.
organizations, COURSE
corporateCODEsetting and other : agencies
GE 6to promote and protect public
quality teaching and learning environment;
2. Address regional and national science and technology concerns by institutionalizing and integrating interest especially for the depressed and marginalized communities.
research-based programs in all Colleges;
3. Improve the quality of lives through the conduct of demand-driven and research-based extension services;
PEO 2:II. Life-Long
COURSE TITLE
Learning : Art Appreciation
PHILIPPINE CONSTITUTION
and Graduates will be advocates of life-long learning by their continuous pursuit of scholarly
4. Strive for optimal performance by sustaining good governance conditions and sound management of the III. COURSE DESCRIPTION :
College’s resources. works in public administration – both in national and international settings.
CORE VALUES PEO 3Art – Responsive
AppreciationtoisCommunity
a three-unitNeeds
course that develops student’s ability to appreciate,
We will be guided with our strong core values of:
Graduates will address the needs
analyze, and critique works of art.of their community
Through by their engagementand
interdisciplinary in social
multimodal
- Creativity - Character
- Service- - Altruism approaches,
responsibility worksthis course equips
to alleviate students
the language with problems
literacy a broad knowledge of the practical,
of the country.
Orientation historical, philosophical, and social relevance of the arts in order to hone students’
- Passion - Responsibility
- Collaboration - Excellence ability to
IX. COURSE articulate LEARNING
INTENDED their understanding
OUTCOMES: of the arts. The course also develops
- students’ competency in researching and curating art as well as conceptualizing,
- Stewardship
mounting, and evaluating art productions. The course aims to develop students’
CAS GENERAL OBJECTIVES
Graduates of the
genuine Bachelor infor
appreciation Public Administration
Philippine program them
arts by providing shouldopportunities
be able to: to explore
The College of Arts and Social Sciences aims to produce well-rounded individuals who are well PO 1: the
Develop adequate
diversity knowledge
and richness and rootedness
and their understanding of fundamentals
in Filipino culture. of good
equipped with the necessary knowledge and skills in the arts and sciences and competent in their field of governance;
specialization so that they will become globally competitive professionals and leaders, and productive
PO 2: Demonstrate high appreciation for the demands and challenges of public
citizens of the country. IV. CREDIT UNITS : 3 Units
Specifically, the following are what CAS aims to achieve: service;
1. Provide quality education in the arts and sciences with accompanying behavioral and social
preparation responsive for industry demand. PO3: V.AdhereHOURSto high ethical
PER WEEK values for public
: service,
3 Hoursaccountability, nationalism and
2. Integrate professional, ethical and legal practices in the study of arts and sciences to develop
competent, critically-minded and morally-disciplined students and graduates.
sustainability;
3. Conduct researches that contribute to the theory and practice in the arts and sciences and PO4: VI. PRE-REQUISITE
Demonstrate a strong sense of duty : to promote
None and protect public interest
relevant to the institutional, regional and national thrusts and ably conform with the national and
global standards. especially for the depressed and marginalized communities;
4. Generate manpower needs of industries and other service areas towards the betterment of VII. CO-REQUISITE : None
community and the country.

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 Republic of the Philippines
CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

PO5: Integrate adequate skills in management including planning implementation, monitoring and human, material and resource management for government and
civil society organizations;
PO6: Exemplify the ability to engage in scientific research and national decision making.

X. COURSE CONTENT :

Course Outcomes-Based Teaching Assessment of

Textbooks/
Desired Learning Outcomes Content/Subject and Learning (OBTL) Learning Time Table
References
Matter Synchronous Asynchronous Outcomes
At the end of the lesson, the students Mission, Vision Student Handbook Discussion Oral & Written Week 1
must have: Goals, Quality Asking explanation 1 1/2 hours
1. Recited and written the Mission, Policy of CSPC Questions
Vision, Goals, Quality policy of Goals and
CSPC and CME department. objectives of CME
2. Internalized the contents of the
Mission, Vision, Goals and Quality
Policy of CSPC and CME
department
Evaluated how far was the VMGO
achieved based on their experiences Course syllabus Expectation check
3.To determine students’ expectations Explanation/Dis
of the course. cussion of the
Course orientation course syllabus
Grading system

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 Republic of the Philippines
CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

Requirements
Relevance

Gardner’s Art through Discussion on.. Essay: If you were Week 1 -2

To characterize artistic expression Arts history the Ages: A Concise Why study an artist, what kind 3 hours
based on personal experiences with art. History of Western Art, humanities? of artist will you be?
Art appreciation Fred S. Kliener, 3rd ed., What is art
Differentiate art history from art Art, creativity, 2012, pp. 1-2 history? What art field will
appreciation; discuss the nature arts imagination and the What is art you explore? Why?
preliminary expression. expression Imagination in teaching appreciation?
and Learning, Kieran How can you utilize
Clarify misconceptions about art; Assumptions of art Egan, 1992, pp. 12-37 Why do people the arts to express
Differentiate art form nature. (Arts is universal; art create works of yourself, your
is cultural; art is not Nature and Young art? (individual) community, and
Categorize works of art by citing nature; art involves Children, 2nd ed., your relation to
personal experiences. experience) Encouraging Creative What is others and with the
(Art as expression, Play and Learning in creativity? earth?
Characterize the assumptions of the as a form of Natural Environments, Why is
arts. creation) Ruth Wilson, 2012, pp. creativity Insight paper:
Visual arts (2D, 3D) 1-17 necessary in Students will select
Film (Digital art making? from the following
arts/analog) Art Perception and When can you topics:
Performance art Appreciation, Ortiz et al., say that a
Poetry-performance 1976, pp. 5-12 person is Why is art ageless
Architecture creative? and timeless?
Dance The Humanities, Dudley
Film and Faricy, 1968, pp. 5- Lecture Why is art not
Literary 22 (Nature of Arts) Dynamics nature?
Theater
Applied Arts Alampat: An Introduction Guide Why does art
(Fashion, furniture) to Art Appreciation, questions: “Art involve experience?
Perez, Cayas, and is good
Narciso, 2013, pp. 9-12, because it is

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 Republic of the Philippines
CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

15-21 popular” or “Art

is good
The Humanities, Dudley because it is
Faricy and Rice, 1968, universal”
pp. 5-12
Why is art
Alampat: An Introduction universal?
to Art Appreciationj,
Perez, Cayas, and Why is art not
Narciso, 2013, pp. 9-12, nature?
15-21, (Imagination) pp.
38-40 Why does art
demand
involvement?

Suggested
activity: Debate
Distinguish between directly functional Functions of art: Dayaw (6 episodes), Individual Oral recitation Week 3-4
and indirectly functional art Legarda, 2015, online sharing: What 6 hours
1. Personal art Group discussion
Apply concepts and theories on beauty (Utilitarian, Art: Perception and form/artwork and plenary
and aesthetics in real life scenarios public Appreciation, Ortiz et al., has changed presentation
display, 1978, pp. 27-32 something in
expression) your life? Why? Reflection
2. Social (Used Alampat: An Introduction FGD questions: Does art
for public to Art Appreciation, Film viewing: always have a
display and Perez, Cayas, and  Video function?
celebration, Narciso, 2013, pp. 23-25 docume
used to affect ntary If artwork did not
the collective Cultural Center of the :Sa have any function,
behavior) Philippines, Tiklas Duyan will it remain an art?
3. Physical Sining, DVD ng
(Utilitarian) Sining”

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 Republic of the Philippines
CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

“The Philosophical (Jesuit

Philosophical Concept of Beauty,” Commu
importance of art Jacques Maritain (from nications
Creative Intuition in Art )
1. Integrity and Poetry)’ 1953, pp.  Tuklas
2. Proportion/C 122-127 Sining”
onsonance CCP
3. Radiance/Cla Aesthetics and Art
rity Theory, Osborne, 1970, Discuss basic
pp. 107-107, 142-144, philosophical
171-191, 226-283 perspectives
such as:
(Suggested
topics)
Art as mimesis
(Plato)
Art as
representation
(Aristotle)
Art for art’s
sake (Kant)
Art as an
escape
Art as
functional
Differentiate content from subject Subject type: Alampat: An Introduction Lecture Virtual Gallery visit Week 5:
Representation to Art Appreciation, 3 hours
Classify artworks according to subject (with subject) and Perez, Cayas, and Provide classic Reflection paper on
non- Narciso, 2013, pp. 27-34 examples students’ experience
Analyze how artists present their representational during the visit to a
subjects in relation to the real subject (without subject) Cultural Appropriation What are the virtual gallery or
and the Arts, Young, two types of museum
Characterize sources and kinds of art Source of subject 2008, pp. 1-27 representationa

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CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

(nature, history, l subject?

Greek, and Roman Art: Perception and
mythology, Judeo- Appreciation, Ortiz, et What are the
Christian tradition, al., 1978, pp. 14-26 sources and
sacred oriental kinds of
texts, other works of subject?
art)
Assign
Kinds of subject students to
(history, still life, bring either
animals, figures, digital or
nature, landscape, printed copies
seascape, of Filipino
cityscape, contemporary
mythology, myth, artworks to be
dreams, and presented
fantasies) orally or using
Popwerpoint;
Content in art (level Identify and
of meaning) discuss the
1. Factual subject,
2. Conventional source, type,
3. Subjective and kind of
subject
Identify the Medium in various forms of Artists and artisans Myths and Symbolisms Video Oral recitation Week 6:
art, viz., visual, auditory, and combined Philippines. Francisco Documentary 3 hours
arts Managers, curators, Deetrio, SJ, 1978, pp. Quiz
buyers, collectors, 406-411 Lecture
Define an artist’s or artisan’s medium art dealers Topics to be Portfolio exhibit of
and technique Alampat: An Introduction discussed: artist’/artisans’ work
Production process to Art Appreciation,
Define the role of managers, curators, (preproduction, Perez, Cayas, and What is the
buyers, collectors, art dealers in the art production, and Narciso, 2013, pp. 35-56 difference Examination

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CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

world. postproduction) between artists

Making the Theatre The and artisans?
Differentiate between artists’ and Medium, technique craft of the Stage, What is the
artisan approach/technique toward a approach (in visual Steven Patrick C. relationship
particular medium arts, auditory, and Fernandez, 2010, pp. between artists
combined arts) 15-20 and artisans
Understand that the artisan’s work is a
means to an end GAMABA “Pioneers of the Which is more
National artists Philippine Art,” video important, the
Identify national GAMABA artists’ documentary directed by artist or the
notable works and their contribution to Events/Exhibits/Man F. Capistreano-Baker, artwork?
society aging Audience Ayala Museum, 2006,
29. Mins. What are the
medium and
Art: Perception and technique?
Appreciation, Ortiz et al.,
1978, pp. 14-26, 40-73 What are the
trends of
Festival and Events practices in
Manageent, Yeoman et art?
al., 2004, pp. 53-115
What is the role
The Role of the Art of the following
Critic, Flores, in Paleta figures
5: A Handbook for Visual (managers,
Artists, ed., Hernandez, curators,
2002, pp. 27-31 buyers,
collectors, art
How to Document One’s dealers) in the
Work, Cajipe-Endeya, in community?
Paleta 5: A Handbook
for Visual Artists, 2002, Students will
pp. 24-26 be assigned to

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 Republic of the Philippines
CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

discuss the
How to Document a characteristics
Structure, R T Jose, of different art
Balagkas, 2007, pp. 25- expressions (7
28 arts)

Interview of
artists/studio
visit (off
campus)
Identify the elements of art Elements of art Sining at Lipunan, Flores Lecture/illustrat Quiz (identification) Week 7:
 Visual and De la Paz, 2000, pp. ion/ discuss and oral recitation 3 hours
Analyze the various elements present in  Auditory 24-26 basic elements
visual, auditory, and combined arts  Combined Analysis paper by
Art in Focus, Interactive Assign group: Choose a
Determine dominant elements used in Arts/Performance Student, ed. Gene A. students to contemporary work
hybrid or modified art expressions art Mittler, 2006, pp. 26-39 discuss and discuss the
(elements), pp. 40-49 subject, medium,
Determine the factor influencing artists Discuss fusions and (principles) The elements and technique;
such as distortion, transformation, overlapping and of the 7 arts Discuss further how
appropriation in an experimental or interrelated Alampat: An Introduction (visual arts, the artist utilized the
hybrid art expression elements to Art Appreciation, film, literature, elements and
 Graffiti, Perez, Cayas, and dance, film, principles of design
poetry- Narciso, 2013, pp. 61-95 architecture, in an art work.
performance, (elements), pp. 97-106 music), then
performance, (principles) conduct an
performance FGD to look
art, digital art Art: Perception and into the
Appreciation, Ortiz et al., variations,
Transcreation 1978, pp. 75-179 overlapping,
 Music to text dominant
 Text to dance Merce Cunningham: elements in art
Fifty Years, Vaughan production in a

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CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

 Dance to and Harris, 1997, pp. 10, particular art

visual 60-61, 100-101 (dance expression
technique)
Suggested
topic:
How do artists
recreate,
transform, or
translate one
art form into
another work?

Suggested
topic:
How do artists
recreate,
transform, or
translate one
art form into
another work?

Suggested
exercises
1. Analog
drawing
2. Room
design
3. Visual
tapestry
4. Soil/coff
ee art
(value)
5. Illustrati

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CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

on
(lines,
texture,
form)
6. Scribblin
g souls
(color)
7. Creative
writing
(erasure
)
8. Dala-
tula
(poetry-
perform
ed)
9. Poem
writing
10. Perform
ance
art/devia
nt art
11. Advocac
y art
Identify the principles of design Principles of design Art in Focus, Mittler, Lecture/illustrat Essay Week 8:
 Unity and 2006, pp. 26-39 ion 11/2 hours
Define and translate principles of design harmony (elements), pp. 40-49 Collaborative room
in an art work  Rhythm, (principles) Exercises: design
variation Product design
Create an art work depicting the various  Balance and Alampat: An Introduction critiquing With rubrics
principles of design proportion to Art Appreciation,
 Emphasis Perez, Cayas, and
and Narciso, 2013, pp. 61-95

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CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

subordination (elements), pp. 93-97

(focal-point) (principles)

PRELIM EXAM (1 HOUR)

Identify various planes in art Reading the image Image to meaning: Lecture Read and research Week 9 &
 Semiotic Essays on the Philippine about selected 10
Categorize and organize information plane Arts, Allice Guillermo, Demonstration Western and Asian 6 hours
from different sources  Iconic plane 2001, pp. 1-16 simulation art
 Contextual
plane Gardner’s Art though the
Ages: An Concise
Art history History of Western Art,
Fred S. Kleiner, 3rd ed.,
2012, pp. 1-2
Identify the underlying history, Cave art, Egyptian Art through the Ages: A Lecture Designed rubrics for Week 11 &
philosophy of the era or movements and Greek Global History. Kleiner, creative output 12
15th ed., 2016, pp. 1032- Creative 6 hours
Classify the various art movements by Roman, Medieval 1047 (South and presentation Quiz
citing their important characteristics Southeast Asia, 1200-
such as historical background, factors, Chinese painting, 1980), pp. 1048-1063 Gallery walk Oral recitation
influential person, socio-political issues, Ukiyo-e (Japanese (China and Korea, 1279-
and prevalent artists, art forms and print) 1980), pp. 1064-1066 Games Brochure about their
media (japan, 1333-1980), pp. respective topics
Renaissance and 994-1031 Talk show
Present the history and movements of Mannerism, (Contemporary Art Long test (true or
the arts through a timeline Baroque and Worldwide), pp. 948-993 Video false, identification,
Rococo (Modernism and documentary fill in the blanks,
Cite important characteristics in an art Postmodernism in enumeration, essay)
work based on the era movement Neo-classicism, Europe and America,
(document and works) Romantic and 1945-1980) Individual output:
Realism modern/classical
Art in Focus, Mittler, works appropriation

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CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

Impressionism 2006, pp. 136-471 through

Post-Impressionism (CLASSIC), PP. 492-562 photography
(Modern art)
Symbolism, Art
Nouveau Cave Art to Modern Art,
in Fleing’s Arts and
Cubism, Futurism Ideas, 10th ed., Mary
Warner Marien and
Abstract or non- William Fleming, 2005,
objective – Dadaism pp. 1-654
and Surrealism
Constructivism, De Art: Perception and
Still Abstract Appreciation, Ortiz et al.
expressionism, 1978, pp. 163-229
Optical Art, Pop Art,
Minimalism, Alampat: An Introduction
Conceptual Art to Art Appreciation,
Perez, Cayas, and
Photo- realism Narciso, 2013, pp. 113-
129
Installation Art (body
art, earth, land, ArtSpoke, Robert Atkins,
performance art) 1993, pp. 43-415

A World history of Art, 7th

ed., Hugh Hobnour and
John Fleming, 2009, pp.
356-845
Identify the various genres in music Instrumental music: Music as Discourse: Brief lecture Creative output/ Week 13 &
 Baroque Semiotic Adventures in presentations 14:
Make a creative interpretation of the (Johann Romantic Music, Agawu, Creative 3 hours
different musical genres Pachelbel, 2009 presentation Students will
Antonio (from solo to interpret music

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CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

Translate sound or music into a new Vivalvi, The Human Image in the group, through their own art
form and in a new context Johan Arts, Fernandez, 2009, depending on expressions (music
Sebastian pp. 65-76 students’ video, dance,
Bach, interests in art poetry, live painting,
George Art Perception and expression) film, digital art,
Frederic Appreciation, Prtiz et. A;, magic,
Handel, 1976, pp. 98-121 experimental, etc.)
Franz
Schubert) Who Needs Classical
Music? Cultural Choice
 Classical and Musical value,
(Joseph Johnson, 2002
Haydn,
Wolfgang
Amadeus
Mozart,
Ludvig Van
Beethoven,
Franz
Schubert)

 Romantic
(Carl Maria
Von Weber,
Frederic
Chopin,
Robert
Schumann,
Franz Liszt,
Richard
Wagner,
Jacques
Offenbach,

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CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

Johannes
Brahms,
Pyotr Ilyich,
Tchaikovsky,
Nikolai
Rimsky,
Korsakov,
Richard
Strauss)

 Modern
(Claude
Debussy,
Arnold
Schoenberg,
Maurice
Ravel, John
Cage, Philip
Glass)

MIDTERM EXAM (1 HOUR)

Discuss the concept of “soul making” Soulmaking Soulmaking, Narciso, Lecture Individual reflective Week 15:
(artmaking): 2016 essay (8 images 3 hours
Develop students’ artistic potentials Crafting images Demonstration and 80 words to
through soulmaking Crafting stories Mick Basa, The describe self)
Crafting instruments Soulmaker, 2013, online Simulation
Enhance students’ sensitivity and Performance Quiz
awareness toward their environment Nature and Young Workshop
7 da Vincian Children 2nd ed., Art output with
Extend to the immediate community the principles Encouraging Creative rubrics
students’ art works as a form of service Play and Learning in
learning (e.g., recyclable materials) Natural Environents, Art portfolio

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CAMARINES SUR POLYTECHNIC COLLEGES
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Ruth Wilsom, 2012, pp.

3-17 Organize an
advocacy art or
Dela Cruz et al., Art immersion or
Republik, 2012, video, workshop the
10 episodes community
Characterize and define narratives, Narratives, Cultural Appropriation Lecture Creative output Week 16:
appropriation, borrowings, and appropriation, the Arts, Young, 2008, 3 hours
ownership of the artists or any agency borrowing, and pp. 1-27 Students are Students will
in the art world ownership assigned to appropriate an ad in
Black Film as a look for works any form, take a
Contextual classical notable works into Signifying practice: that have been picture of it and
a certain theme and comment on a Cinema, Narration, and appropriated in create another
certain issue either on a personal or the African-American any form; poster that
social level Aesthetic Tradition. Discuss and incorporate their
Posit five (5) acts of Yearwood, 2000, p. 124- compare the new concept
Develop students’ artistic ability in any cultural 129 old and new
form they would like to appropriate an appropriation meanings Essay
art
Suggested
1. Object topics:
appropriation What
2. Content contemporary
3. Style art forms or art
4. Motif expressions
appropriation utilize the
5. Subject principles of
appropriation appropriation?
Why do they
appropriate?
Why do they
appropriate?
What art forms

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CAMARINES SUR POLYTECHNIC COLLEGES
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are commonly
appropriated?
Draw out metaphors from local myths Textile art Hinabing Panaginip, Video Reflective essay Week 17:
so students will value cultural roots Soul, dreams and Fruto Corre, Bookmark documentary
imagination video. 1999 Quiz (multiple 3 hours
Deepen students’ understanding of Brief lecture choice,
imaging Tnalak process Myth, Mimesis and enumeration,
Tnalak and T’boli art Magic in the Music of the Illustration identification)
Dagmay, T’boli, Mora, 2005, p.
Pis-yabit 66-68 Mind mapping
Seputangan Alampat: An Introduction
Inaul to Art Appreciation,
Perez, Cayas, and
Narciso, 2013, pp. 34-40
(imagination)

Sinaubang Habi.
Philippine Ancestral
Weave, Pastor-Roces,
Marian, 1991, pp. 206-
305
Analyze how line was interpreted and Visual elemets in Sourcebook of Philippine Lecture Quiz Week 18:
utilized in traditional crafts the Philippine traditional Motifs and 3 hours
traditional motifs Crafts Processes, Workshop Individual output
Develop students’ ability in manipulating and crafts Mercedita Jose Delaq with rubric
the elements of art Cruz, 1982, pp. 18-34 FGD
Decorative motifs Visual tapestry
Document changes and the shifting and symbols, Ukkil: Visual Arts of the Lecture
environment such as terrain, texture, classification Sulu Archipelago, Ligaya Oral recitation
sound through fusion of various Fernando-Amilbangsa, Video
elements of art Soul and space: 2005, pp. 15-38 documentary Build miniature
Torogan skeletal or structural
Determine the implications of soul and Ifugao Bale The maranaw Torogan, Collaborative stilt houses

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CAMARINES SUR POLYTECHNIC COLLEGES
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space for society Bahay Kubo Madale, 1996, pp. 7-31 artistic work
Bahay na Bato Group activity with
Characterize how Filipinos utilize space Other indigenous rubrics
to determine its implications for their houses
identities, history, religion, philosophy
Discuss the concept of Okir in relation Symmetry art Ukkil: isueal Arts of the Lecture Portfolio of Okir- Week 19:
to Islamic Art Okir/Okkil Sulu Archipelago, Ligaya Demonstration inspired art works in 3 hours
Fernandop-Amilbangsa, workshop the city or
Identify the parts of Okir/Okkil Improvisation in 2005, pp. 174-175 community
various art forms Locate okir
Create a symmetry art inspired by Choreography: A Basic inspired Artistic output-
Okir/Okkil Contact-body Approach Using artworks in the symmetry art
improvisation (Flow, Improvisation, Minton, city (paintings,
Determine the cultural relevance of the staccato, chaos, 1986, pp. 18-19 drawings, Workshop with
Okir lyrical, stillness) architecture, rubric
Improvisation for the functional tools,
Define improvisation Sound improvisation Theatre, Spolin, 3rd ed., jewelries, Quiz
1999 (entire book) furniture, fabric
Utilize the body tool in expression and Theatre or fashion) Oral recitation
communication improvisation Culture of Improvisation,
Antolihao, 2004, pp. 83- Lecture Group dynamics
Strengthen students’ initiative and Solving 84 with rubrics
artistic sensibilities improvisational Demonstration
challenges The wave Dance, Roth,
2008, online FGD

The Way of Performance

Improvisation, Morris, art simulation
2011, online (e.g., planking,
flash mob,
happenings)

Video

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documentary
Trace and summarize the development Indigenous art Local Community Lecture Reflective essay Week 20:
of the arts, art appreciation and Immersion 3hours
aesthetics in contemporary art practice Muslim art Creative Quiz
Gallery/studies or presentation
Appreciate better the history of Christian art workshop visit Exam
development of Philippine arts Exhibit (online
Contemporary art (immersion/research of and actual)
their own community)
Practice and
movement

FINAL EXAM (1 HOUR)

XI. COURSE REQUIREMENTS

Attendance Quizzes Recitation

Periodic Examination Group Output Reflection/Critique Paper

Research Work Group Presentation Projects

Final Movie Presentation

Effectivity Date: August 2021 Rev. 2 Page 18 of 20

 Republic of the Philippines
CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

XII. GRADING SYSTEM

Criteria Non-Lab Subject Computation of the Midterm and Final Grades

A. Class Standing (quizzes, recitation, assignments,
50% Final Midterm Grade = 1/3 Prelim Grade + 2/3 Tentative
chapter/unit test & attendance)
Midterm Grade
B. Examination (preliminary, midterm, and finals) 30%
C. Project (research/term/reaction paper, laboratory Final Grade = 1/3 Final Midterm Grade + 2/3 Tentative Final
20%
experiments, group/individual work, etc) Grade
TOTAL 100%
Note: In order to pass the subject the student must obtain at least 75% as equivalent grade

XIII. TEXTBOOK / REFERENCES:

1. The Art of Being Human 10th Edition Janaro &Altshuler Publisher: Pearson/Longman, ISBN- 10: 0-205-02247-2
2. Introduction to Art Appreciation (A textbook in Humanities), Mariano M. Ariola, C & E Publishing, Inc. Quezon City, 2008
3. Agawu, Kofi (2009) Music as Discourse: Semiotic Adventures in Romantic Music, New York: Oxford University Press
4. Dudley, Louise and Austin Faricy (1968) the Humanities: Applied Aesthetics. 4 th edition, New York: Mcraw-Hill
5. Honour, Hugh and John Fleming (2009) A World History of Art. 7 th ed. London: Laurence King Publishing
6. Kliener, Fred (2016) Art through the Ages: A Global History. 15 th ed. Boston: Cengage Learning
7. Maritain, Jacques (1953) Creative Intuition in Art and Poetry. New York: Pantheon Books
8. Narciso, Norman (2016). Soulmaking. Davao City: Aletheia Publications
9. Osborne, Harold (1970) Aesthetics and Art Theory: A Historical Introduction. New York: E.P. Dutton
10. Young, James O. (2008) Cultural Appropriation and the Arts. Malden, MA: Blackwell Publishing

Effectivity Date: August 2021 Rev. 2 Page 19 of 20

 Republic of the Philippines
CAMARINES SUR POLYTECHNIC COLLEGES
Nabua, Camarines Sur
CSPC-F-COL-13B

XIV. CLASSROOM MANAGEMENT:

1. Students of this course are expected to:

2. Take and pass all short/long quizzes, prelim, midterm and final examinations and subject requirements/project.
3. Participate actively during recitation, individual or group activities, discussion, etc.
4. Attend class punctually and regularly.
5. Student who has been absent for at least 20% of the hours of recitation, lecture, laboratory or any other scheduled in the subject for the semester or any
academic period shall be automatically dropped from the class.
6. If the student is the late for 15 minutes, the student will allowed attending classes but will marked absent. If he/she arrives during any portion of the first 15
minutes he/she will be marked late. Three tardiness is equivalent to one absent.
7. Observe honesty and independence during recitation, examinations quizzes. Any student caught to be dishonest will be dealt with accordingly based on the
College policies.
8. Act & speak decently and appropriately; pin their ID’s and wear proper uniform during uniform days as prescribed by the College and proper attire during wash
days (Wednesday).
9. Make up for missed exams voluntarily. However, only those who have reasonable cause will be granted special examination. This will depend on whether the
students will be able to submit properly filled up admission slip from the DEAN’S office, Medical Certificate or Authorized letter from parents/guardian.
10. Communicate to the Instructor concerned, any difficulties encountered in the subject for necessary assistance.
11. Maintain the cleanliness and orderliness of the room/laboratory room.
12. Cell phones must be turned-off during class period.

Prepared by: Verified by: Approved:

MARY GRACE I. PETRONIO MARK RONEL R. OCBIAN, LPT APRIL V. ZABALLA-LUZON, JD, PhD
Instructor 1 General Education Courses Coordinator Dean, College of Arts and Sciences

Effectivity Date: August 2021 Rev. 2 Page 20 of 20