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Its pagodas boast elaborate friezes, wall paintings, and sculptures. Local art forms, such as marionette theater and kalaga making, are internationally renowned. Myanmar's hill minorities also have distinctive arts and crafts. Generally speaking, art in Myanmar means Buddhist art, and the Myanmar known to art history is not identical with the modern geographical unity. The Buddhist culture of Old Burma, however wide its general influence may have spread, was originally a product of the vast river basin of the Ayeyarwady river, with an extension sout-eastwards along the coast to the delta of the Thanlwin (Salween) river THAILAND Delicate and intricate hand painted umbrellas and fans created from fine silk and paper are just some of the many examples you can view on the Thailand art scene. The best place for you to witness this would be in northern province of Chiang Mai where you can actually experience the whole process from beginning to end from some very talented Thai artists and craftspeople. You are more than welcome to commission a design of your choice or purchase any one of many examples on sale at the factories or craft markets around town
. The techniques use to create pottery and ceramics as a Thailand art form has been around since the beginning of the 14th century. Vietnamese, Burmese and Chinese ceramics had been discovered around the country which later influenced the styles, shapes and intricate design patterns that you now see in authentic Thai ceramics giving them their unique character. Exporting of these ceramics to foreign borders created great wealth and benefits for all Thai communities.
If you should take the time to view many of the amazing temples around Thailand you will also notice some unique, colourful and intricate details on the gables of the temple buildings as well as the entrance gates offering you as a
visitor, an interesting insight into Thai art and culture. I find that the lavish ornamentation of these temples presents a sense of welcome and inspiration to all who enter. CAMBODIA Traditional Cambodian art reveals itself in a variety of forms. Kite making is one of the oldest traditional arts of the region. The kites made by the professionals are a true testament to the classical Cambodian style that has attracted a lot of foreign attention.
Stone carving is yet another form of traditional Cambodian art. The locals are known to possess amazing craftsmanship when it comes to working with stone. Ceramics is yet another domain where the Cambodians have produced some amazing work. The locals are also renowned silversmiths working wonders with the medium. Textile weaving and print designing are also amongst the mediums of artistic expression used by the Cambodians. Recently it has been observed that the ancient tradition of kite making and flying is being revived in the country. One can find a wide variety of kites available in the market today especially when the monsoon season arrives which is the peak kite flying season. The Cambodian artists have today combined their age old traditional skills with modern trends in order to come up with unique contemporary artwork. The Cambodian artists of the new ear have taken inspiration from modern trends and have attempted to execute those ideas through traditional Cambodian mediums such as kite making and stone carving. On the flipside some artists have attempted to take the traditional Cambodian style and experiment with new mediums of artistic expression. LAOS For a long time the unique style of Lao silk weaving remained relatively unknown to the Western world. The increasing number of tourists visiting Laos over the last two decades has begun to give this wonderful art form more exposure. During the 1990s, silk weaving experienced a revival as international demand for the textiles in the context of Asian home decor developed. Much of the credit for this revival goes to Carol Cassidy, an American woman with a passion for weaving that led her to Laos in 1989, where she learned to weave in the Lao tradition and presented the art form to an international audience. Today there are a number of studios in Laos weaving silk textiles of magnificent quality. Both ancient tribal designs as well as more contemporary patterns are being woven as the art form evolves. For centuries, Lao women have woven silk clothes for their family
members. In the past, every stage of the process, from breeding the silk worms, to dyeing the silk using plant extracts, and weaving silk on a wooden loom was done at home. Often an heirloom silk handed down from the previous generation would serve as inspiration for the next. SINGAPORE Sculpture Square organizes many modeling events throughout the year. Many artists, of all ages, take part in the events. They organize sculpture workshops for aspiring artists and students from Singapore and rest of the world. Several internationally famous artists participate in these events.
Singapore has a tradition of enriching a variety of dance forms. There are ongoing events in Singapore sponsored by companies like Singapore Dance Theatre, The Arts and Fission Company, Odyssey Dance Theatre and Ecnad. While in Singapore you have good chance of enjoying many ethnic dance forms: Chinese, Malay, Indian, Russian, European and Japanese dances.
Wushu is a form of martial art and the name itself means martial art. Wushu has also developed a form of sport looks like wrestling. This form of performance was used as a means of self defense and part of ethics study, later it took the form of a modern sport and also performed as an entertaining show. The performance of this art form is organized by Singapore National Olympic Council, Singapore Futsing Association, Xin Ying Wushu Training Centre, etc. BRUNEI
Handicrafts come in all shapes and sizes, from gold and silverthreaded textiles to traditional daggers.
Brunei’s mosques are highly decorated with large collections of sculptures and paintings which are often extremely elaborate. Colorful tribal paintings can also be seen in museums and the country’s villages.
EAST TIMOR East Timor Art comprises of the textiles, handicrafts, dances, music and the various paintings of Timor Leste. Timor Leste has a very important textile called the Tais. Tais conveys the beautiful and ancient traditions of East Timor and is mainly crafted by the women of Timor Leste. Timor Leste Art has a deep connection with Tais and consists of simple back straps. Tais also has a special place in the dances, religious gatherings and the special rituals of Timor Leste. Many kinds of products for daily use like Table runners, purses, bags and bookmarks are made out from it.
Panbe is the tempering of iron in the furnace to make necessary items. The artisans make ox cart axle, ox cart iron, tyre, scissors, hammer, adze, pickaxe, knife, hatchet, axe, digging hoe and mattock. The Myanmar’s traditional blacksmith craft emerged in the early of Bagan period (11th century A.D) and it had improved in the mid Bagan Inwa and Yadanapon period. Myanmar’s traditional blacksmith craft, from Inlay region were famous in the Yadanapon period. Many types of blacksmith craft articles are invaluable, such as military armour, weapons, file, pickaxe, mattock, hoe sword, etc. The Myanmar’s traditional blacksmith craft is very famous in the South East Asia and constitute one of the artistic wonders of the world.
Panchi is the one which illustrates living animals and inanimate objects using different colours. The artists paint the figures of human beings, animals, objects, scenery designs and cartoons. Myanmar traditional painting developed with the religion of Buddhism in the Bagan Region. Thus, Bagan become a repository of ancient Myanmar traditional paintings and sculptures in the 11th century A.D. Because of Myanmar artist’s achievements, we have more paintings of Konbaung period than those of Inwa, they are more colourful and lively. During Yadanapon of Mandalay period more painting was done in folding books called Purapaik and on canvas than on the wall. The wall paintings at Mahamuni Pagoda in Mandalay were executed in later Yadanapon period. Most of these paintings have been copied and collected by the Archaeological Department, Myanmar. Panbu means the one which produces figures and floral designs made of wood or ivory. The artisans make the figure of human beings and animals and floral designs. Myanmar’s traditional sculpture emerged before the Bagan period and it improved in the middle of Bagan Era. Myanmar’s sculpture base the religion of Buddhism which arrived from Southern India in the 11th century A.D. Most of the wood sculptures of Bagan and Inwa periods have been lost under various circumstances and only a few are left today. One outstanding wood sculpture belonging to the Bagan period is the one at the old portal of Shwezigone Pagoda at Nyaung-U. Those who want to see wood sculptures of Yatanapon (Mandalay) or latter Yadanapon periods should visit following places: - Shwe-inpin Monastery, Mandalay. - Bargayar Monastery, Inwa
Silk painting is the traditional Vietnamese art of silk painting which originates from painting and drawing on home made rice paper. Today this art has become famous around the world for its simple poetic themes and vibrant colors. Vietnamese artists find the technique to be a unique way to create mystique in their paintings.
Dong Ho Painting is a kind of Vietnamese folk painting originating in Dong Ho Village in Song Ho Commune, Thuan Thanh District, Bac Ninh Province. Dong Ho paintings have about 300 years of history in the north of Vietnam.
Vietnamese Water Puppet originated from the Red River Delta of Vietnam in the tenth century. Some of the earliest troupes are in Nguyên Xá commune, Đông Hưng district, Thai Binh province. Water puppetry is deeply imbued with the cultural characteristics of the people of this area. This unique art first appeared around the 15th century, when post-harvest, artists who were also farmers would gather to perform and relax. The custom remains today in many localities in the Red River Delta such as Dao Thuc, Phu Da, Dong Ca, Nguyen Xa, Dong Ngu, Nhan Hoa and Nam Chan.
INDONESIA The congklak, or dakon board game was brought to Indonesia by Indian or Arab traders centuries ago. Made from plastic or wood, or highly carved by court artisans, this game has been played in Indonesia for centuries. Examples of early congklak board can be found in the National Museum.
Ceramics made their way to Indonesia over centuries of trade with China dating back to 205 BC. Ceramic items range from everyday common vessels and plates, to fine ceramic pieces that became heirlooms passed down fromgeneration to generation.
A wide fibers and lamp items Indonesia
range of items, both useful and decorative are made from natural such as pandanus, rattan, bamboo grasses. Rice spoons, bowls, containers, woven mats, baskets, shades, boxes, natural paper products and a multitude of other are made from natural fibers in
Beautiful Dutch colonial and other antique furniture from the 18th and 19th centuries is popular with expats, including Balinese opium beds, rice storage units, old cupboards, Javanese carved wall panels, doors and unique tables. These pieces may need restoration or may have already be refinished or reconditioned by the shops. Volcanic rock are carved to create statues depicting characters from ancient Indonesian myths and epics. These are predominantly found in Yogyakarta and Bali where stone carving traditions date back over 900 years and were highly developed during the construction of major temples in these areas.
In the last half of the 19th century, Filipino painters showed enough maturity of concept and technique to merit critical acclaim. Damian Domingo got recognition as the “father of Filipino painting.” Towards the end of the Spanish regime, two Filipino painters won recognition in Europe – Felix Resurreccion Hidalgo and Juan Luna. Hidalgo’s Antigone and Luna’s Spolarium were both acclaimed in Europe as masterpieces of Filipino painting. In 1884, Luna won the first Gold Medal at the Exposicion Nacional de Bellas Artes for his Spolarium. This monumental painting shows fallen gladiators being dragged to an unseen pile of corpses in a chamber beneath the Roman arena.
Filipino sculptors came to be known in the middle of the 19th century. Classical Philippine sculpture reached its peak in the works of Guillermo Tolentino (18901976). His best known masterpiece is the Bonifacio Monument, which is a group sculpture composed of numerous figures massed around a central obelisk. The principal figure is Andres Bonifacio, leader of the revolution against Spain in 1896. Behind him stands Emilio Jacinto, the brains of the Katipunan. The Bonifacio Monumen t - completed in 1933 -- marked the apex of Tolentino'’s career.
A closer look at some of the mat traditions will show the artistry and the superb skills of the native weavers. One example is the Samal mat, considered design-wise as one of the most interesting traditions in the whole
country. The Samals are Muslims occupying the bigger islands in Tawi-Tawi. They are generally engaged in trade and agriculture. The Samal mat uses the leaves of pandanus plant which grows abundantly in the area. It has four general patterns: 1) stripes; 2) multicolored squares; 3) a checkered pattern of white and other colors; and 4) a zigzag pattern.
External influences In Southeast Asia, winds of change often came as storms. Indian commerce expanded<script src="http://adserver.adtechus.com/addyn/3.0/5308.1/1371312/0/170/ADTE CH;target=_blank;grp=263;key=true;kvqsegs=D;kvtopicid=556535;kvchan nel=ARTS;misc=1310073870893"></script> into Southeast Asia in the early centuries of the Common Era and, in spite of its peaceful nature, caused revolutionary changes in the life and culture of the peoples of the region. The Indians would sojourn in the region in small numbers for two or three monsoons only. The success of their commercial venture and the
safety of their persons depended entirely on the goodwill of the inhabitants. The Indians brought new ideas and new art traditions. Since these ideas had some affinity with indigenous ideas and art forms, the natives accepted them but were not overwhelmed by an influx of new traditions. The Hindu and Buddhist cultures of the Indians made a tremendous impact and came to form the second layer of culture in Southeast Asia, but the first layer of native ideas and traditions has remained strong to the present day. Changes often came to Southeast Asia, usually because it possessed a commodity that was in great demand by the rest of the world. The Indians came because they were looking for fresh sources of gold after the Roman imperial source had run dry. In the 15th, 16th, and the 17th centuries, insular Southeast Asia attracted Islamic merchants from India and farther west and later the Portuguese and the Dutch as a rich source of spices. As with the Hindu and Buddhist merchants of the past, the Islamic traders came not as missionaries, though they did spread their religion in the region. The Portuguese came as conquerors and as militant missionaries of their Roman Catholic form of Christianity, and, for those reasons, their cultural traditions were unacceptable to the natives. In the 17th century the Dutch came as conquerors and colonists for whom the attraction was first spices and then coffee, rubber, and petroleum. Since mainland Southeast Asia produced no spices for export, it was less vulnerable to the navies of Portugal and The Netherlands, so the region was not greatly affected by the Muslims, Portuguese, and Dutch. In the 19th century, Britain and France became interested in mainland Southeast Asia as the back door to China and sought to possess it as a colony. By the end of the 19th century, Burma had fallen to Britain, Siam was allowed to retain its independence only with the tacit permission of the two powers, and the rest had fallen to France. When in the mid-20th century the whole of<script src="http://adserver.adtechus.com/addyn/3.0/5308.1/1388656/0/170/ADTE CH;target=_blank;grp=263;key=true;kvqsegs=D;kvtopicid=556535;kvchan nel=ARTS;misc=1310073870903"></script> Southeast Asia became free again, European culture and European art forms clearly had made little impact. Indigenous traditions <script src="http://adserver.adtechus.com/addyn/3.0/5308.1/1371309/0/170/ADTE CH;target=_blank;grp=263;key=true;kvqsegs=D;kvtopicid=556535;misc=1 310073872761"></script> The peoples of Southeast Asia were once thought to have shared a lack of inventiveness since prehistoric times and to have been “receptive” rather than “creative” in their contacts with foreign civilizations. Later excavations and discoveries in Myanmar and Thailand, however, inspired some scholars
to argue against the accepted theory that civilization moved to Southeast Asia from China in prehistoric times; rather, these scholars contended, the peoples of mainland Southeast Asia were cultivating plants, making pottery, and working in bronze about the same time as the peoples of the ancient Middle East, and therefore civilization spread from mainland Southeast Asia to China and India. Southeast Asians do not have a strong tradition of art theory or literary or dramatic criticism, for they are always more concerned with doing the actual work of producing beautiful things. Because the Southeast Asians, especially in the western half of the mainland, worked on nondurable materials, it is not possible to trace the development and evolution of art forms stage by stage. The region has always been thickly forested, so it was natural that the first material to be used for artistic purposes should have been wood. They retained the tradition, begun in ancient times, even when they learned to work with metals and with stone; flourished long after the great age of stone sculpture and stone architecture, which ended in the 13th century. Proto-Neolithic paintings discovered in a near the in the western Shan state of Myanmar have very close affinity with the later carvings on posts of houses among the Nagas on the western hills of Burma. Similarly, of a pair of human hands with open palms, one holding the and the other holding a human skull, are reflected in the later aesthetic tradition of Southeast Asia: the sun symbol is found as an art motif all over the region, and a suggestion of awe, triumph, and joy at acquiring a human head is found in carvings under the eaves of the Naga houses. The cave painting testifies to the continuity of the magico-religious tradition connected with all the arts of the area.
2010 Secondary Education Curriculum Music and Arts II Arts II General Standard for Second Year: The learner demonstrates understanding of basic concepts
and principles of Asian music and arts through active participation in artistic and cultural performances for self development, promotion of cultural identity and expansion of one’s world vision.2010 Secondary Education Curriculum Music and Arts II Quarter 1 : Music and Arts of Southeast Asia Topic: Southeast Asian Art Time Frame: 8 hours Stage 1 Content Standard: • The learner demonstrates understanding of media techniques and processes and the elements and principles of arts used in Southeast Asian arts as influenced by history and culture. Performance Standard: • The learner creates an example of Southeast Asian art applying knowledge of media techniques and processes, elements and principles of art to communicate ideas, experiences and stories. Essential Understanding(s): • Arts and crafts of Southeast Asia offer a glimpse of old civilization and have continued to influence present -day artistic expression through the use of media techniques and the elements and principles of design in arts. Essential Question(s): • How do arts and crafts of Southeast Asia show a glimpse of old civilization and continue to influence present-day artistic expression? Learners will know: • Southeast Asian arts (Indigenous and/or Folk art) • Myanmar (Burma), Thailand, Laos, Cambodia, Vietnam, Malaysia, Singapore, Indonesia, and the Philippines. • Elements of Art • Point • Line • Shape and Form
• Value • Color • Texture • Space • Principles of Design • Unity and Variety • Balance • Emphasis/Focal Point • Rhythm/Pattern • Proportion/Scale • Movement Learners will be able to: • View examples of Southeast Asian indigenous and/or folk arts • Discuss the message or the meaning of the art form • Apply different media techniques and processes to communicate ideas, experiences and stories showing the characteristics of Southeast Asian indigenous and/or folk arts • Create an example of Southeast Asian indigenous and/or folk arts showing understanding of the elements of art and principles of design • Use subjects, themes and symbols in their artworks that demonstrates knowledge of contexts, values and aesthetics in Southeast Asian indigenous and/or folk arts 2010 Secondary Education Curriculum Music and Arts II • Analyze the work of art using knowledge of the elements of art and the Stage 2 Product or Performance Task: Created examples of Southeast Asian art Evidence at the level of understanding Learners should be able to demonstrate principles of design
understanding by covering the six (6) facets of understanding: Explanation Explain the different media techniques and processes and how the different elements and principles of art were used to show a glimpse of old civilization and influence present-day artistic expression.. Criteria: • Clear • Accurate description of the different elements used • Use of appropriate terminology Interpretation Illustrate through a media technique of your choice a picture of old civilization and its influence to present-day artistic expression. Criteria: • Meaningful • Revealing • illustrative Application Evidence at the level of performance Evaluation of a created art work based on the following criteria: • Authenticity • Clarity of Message • Creativity 2010 Secondary Education Curriculum Music and Arts II Apply knowledge media techniques and processes and the elements and principles of art in creating an example of Southeast Asian art.
Criteria: Appropriateness of: • materials used • media techniques • elements and principles of art Creativity Perspective Critique two examples of Southeast Asian art as regards to media techniques and principles used, materials, ideas and historical and cultural context. • critical • insightful revealing Empathy Assume the role of an artist in a chosen Southeast Asian country in creating a sample art work applying a chosen media technique and process including the elements and principles of art. Describe how you felt as an artist. Criteria • Sensitive • Open 2010 Secondary Education Curriculum Music and Arts II • Responsive • Receptive Self -Knowledge Explain how you came to understand the culture of a chosen Southeast Asian country and its relation to our culture through their use of the different media techniques and processes and the elements and principles of art.
Criteria • Insightful • Self-adjusting • Reflective Stage 3 Explore: In this phase, engage the learners in viewing examples of Southeast Asian arts and assess their background knowledge on the topic. Hook and engage learners on the topic and as a guide, give them the essential question. • Ask students the countries in the Southeast Asian region. • Have a discussion on the unique memorable events, festivals that one can find in any of the Southeast Asian countries. State the country and name of the event/occasion. • Focus the discussion on the objects/architectural forms/costumes/traditional events of the countries. Discuss the purpose, meaning and history of the designs/art forms used. • How do Southeast Asian indigenous and/or folk arts reflect the life of the common folk? 2010 Secondary Education Curriculum Music and Arts II • How do Southeast Asian arts create their art forms? • What are the Southeast Asian arts inspirations and influences? What are the Southeast Asian arts similarities and differences? Emphasis: • Southeast Asian arts are generally influenced by their religion, history and cultural traditions. (ex. Hindu epics Mahabharata and Ramayana, Comedia, or moro-moro, a folk drama,) • The meanings, symbols and purpose of the art forms are also related to their religion (faith), culture and history of the country. (ex. Theravada Buddhism and non-Theravada) • The designs may be similar and vary depending on the type of religion, beliefs, location and influences of the country. The designs are sometimes dictated by the religion, beliefs, materials and creativity of
the artists. The materials are usually common objects or abundant, popular in the country. • Most of the works are described to be ancient, magical, animist. How do arts and crafts of Southeast Asia show a glimpse of old civilization and continue to influence present-day artistic expression? Firm Up: Engage the learners in viewing examples of Southeast Asian arts. Provide activities to process students meaning. Let them reflect, revise and rethink their understanding. • Present indigenous art or folk art forms through visual aids focusing on architectural, carving, pottery, weaving, physical ornaments (textile design, bead work/necklace/bracelets, tattoo) and traditional events • Analyze the designs of the indigenous or folk art forms by discussing the use of the elements of art and principles of design. • Relate the indigenous or folk art forms to the context of the country’s history. • Folk arts and indigenous motifs: • Architectural Motifs: temples, stupas, pagodas, cetiyas 2010 Secondary Education Curriculum Music and Arts II • Folk art motifs: squatting ancestors, kris swords, musical instruments, magical staves, antlers, decorated triangles, abstract patterns, arabesques linear forms, male genitals, masks, snakes, puppets etc.. o In discussing the indigenous/folk art forms, teacher must apply or focus on the basic visual elements and principles of design used by the artists. o Stress on the lines, colors and shapes etc. and the principles of designs; repetition, rhythm and contrast, etc. o The teacher may also discuss in focus the following concepts in relation to Southeast Asian arts: Motifs, costume/textile designs, architectural structures, theater design and religious art forms. o Some significant art forms:
All visuals are all available thru the internet (search engine: google images and websites) • Fresco of the Preaching Buddha at the Wet-kyi-in, Gu-byauk-gyi, Pagan, c. 1113 • Apsaras, heavenly dancing girls, bas-relief from Angkor Wat, Angkor, • Ravana, the demon king, fighting the white monkey Hanuman, in khon masked pantomime, Thailand. • Wayang kulit (shadow-puppet theatre), Java. • Wayang topeng (masked dance), Bali. • Ruined temples at Angkor Thom, Angkor, Cambodia. • hwesandaw cetiya (a building that combines the attributes of both stupa and shrine), Pagan, now in Myanmar, 11th century. • Shwe Dagon pagoda, Yangôn, Myanmar, c. 15th century. • Water Pavilion, Bang Pa-in, Thailand, 1294. • That Luang stupa, Vientiane, Laos, 1566, restored 18th and 19th centuries. • Shiva and Uma, sandstone, from Banteay Srei, Angkor, Cambodia • Angkor Wat, Angkor, Cambodia • Vishnu, stone, from Bali; in the Royal Tropical Institute Museum, Amsterdam. Height 80 cm. • The stupa complex at Borobudur in Java, Indonesia. • A Dhyani-Buddha on one of the stupa terraces at Borobudur, Java, 8th century. • Temple of Shiva, the central temple of the Lara Jonggrang complex, Prambanan, Java, c. 900. • Pura Besakih, the mother temple of Bali, on Mount Agung, Bali, 14th century. In the centre is the 11-story meru dedicated to Shiva. • San Agustin Church, Intramuros 2010 Secondary Education Curriculum Music and Arts II Check for understanding by asking the essential question. Deepen: In this phase, students will be given hands on activities in creating examples
of Southeast Asian art in order to have a thorough understanding of the different genres. Teacher may choose from activity 1 or 2 depending on the available time/sessions left. Activity 1: Almighty Gods (Buddha/Christ, etc..) - Carving 1. Discuss the concepts of sculpture. Definition, techniques and types/classifications 2. State the subject matter for the activity/sculpture project Almighty Gods 3. Materials – Clay, hand soap, candle 4. Individually, the students must create a three-dimensional figure of their chosen God (based on their religion) using any of the following medium (Clay, hand soap, candle). Depending on the readily available material in their area. The size will vary depending on the chosen material. Students must follow the visual requirements of the chosen God. (ex. the pose, intricate details of the costume/ornaments) Activity 2: Textile Design Making (Batik or Ikat)- Costume 1. Discuss the concepts of textile design making. 2. Definition, techniques and types/classifications. 3. Focus on Batik or Ikat design 4. Materials: any t-shirt or cloth and dye 5. Individually or work in dyads, the students must create a Batik or Ikat design based on the chosen material. Students must use the common styles and motifs done in a Batik design. The teacher may provide a suggested theme for the design. This may vary depending on the type of material to be used. (ex. t-shirt batik design, handkerchief design, Malong design, etc.) • The materials and colors for their costume must be common to the province. Encourage the students to use recycled 2010 Secondary Education Curriculum Music and Arts II materials. (used t-shirt/handkerchief) Activity 3: Reporting and Presentation
Reflection: Every activity, students must compare their artworks (mask/costume/presentation) with the other groups and other individuals with in the group. Self-evaluation and assessment must use the following rubrics: o Use of the basic elements. (ex. Colors used, lines used, textures used) o Use of the principles of design. (ex. Repetition of designs used, harmony of the colors used, variety of designs, movement of the choreography) o Creativity o Resourcefulness o Appropriate use of symbols Let students realize through questioning that all indigenous and folk art forms in the Southeast Asian countries have their own history and purpose. And details of the design are based on the experience of the individual in his/her community/environment. Ask them to explain how they came to understand the culture of a chosen Southeast Asian country and its relation to our culture through their use of the different media techniques and processes and the elements and principles of art. Check for student’s understanding and let them verbalize that: • Arts and crafts of Southeast Asia offer a glimpse of old civilization and have continued to influence present -day artistic expression through the use of media techniques and the elements and principles of design in arts. Transfer: In this phase, students will create an artwork applying understanding of media techniques and processes used in Southeast Asian art. 2010 Secondary Education Curriculum Music and Arts II The student will create an art work based on Let the student choose the country and the medium and apply the skills learned. Evaluation of a created art work will be based on the following criteria: • Authenticity
• Clarity of Message • Creativity Processing of individual evaluations. After the whole activity: 1. Ask each student to answer the following questions. Which group is more resourceful and creative? Which group did represent the country’s culture and uniqueness properly? Which group gave a substantial report? Resources (Web sites, Software, etc.) • All visuals are all available thru the internet (search engine: google images and websites) • www.ncca.gov.ph • www.culturalcenter.gov.ph • folk art. ( 2009). Encyclopædia Britannica. Encyclopædia Britannica 2007 Ultimate Reference Suite . Chicago: Encyclopædia Britannica. • "arts, Southeast Asian ." Encyclopædia Britannica. Encyclopædia Britannica 2007 Ultimate Reference Suite . Chicago: Encyclopædia Britannica, 2010. • Zulueta, Francisco M., “The Humanities”, National Bookstore publishing, Mandaluyong, 2007 • http://www.koleksyon.com/filipinoheritage/costumes/pintados2.asp • Jones, Louis C. "Folk Art." Microsoft® Encarta® 2009 [DVD]. Redmond, WA: Microsoft Corporation, 2008. Materials/Equipment Needed: • Indigenous materials present / common in their locality • Dyes • Folder • Paper Board • Adhesive 2010 Secondary Education Curriculum Music and Arts II • Coloring Markers • Textiles • Recyclable and Common Objects in the area
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