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UNIT I

Lesson 2
The Humanities and the Filipino Personhood
(Pagkatao)
Artists are best understood in the context of their time and culture.
Objectives:

At the end of the lesson, students must have:

• compared and contrast the Western concept of humanities with the

Filipino notion of personhood or pagkatao;
• described personal art experiences as an artist;
• appreciated the value of different Filipino art forms and self
expressions through survey or documentation;
• identified and described the Filipino art or craft and how it reflected
the Filipino world view and characteristics.

Materials:

Any Filipino -made art or Craft, pad paper

Duration: 1.5 hours

Key concepts and ideas:

Humanities Filipino Personhood/Pagkatao

Let’s ponder about these!

• Humanism in the Western concept refers to the conviction of the
dignity of human based on the insistence on human values (rationality
and freedom) and the acceptance of human limitations (fallibility and
frailty). It epitomizes the multifaceted artistic and literary works the
merits of the human of the Renaissance period with a big craving for
learning

• Filipino concept of humanism is strongly associated with

pagpapakatao or the process of becoming human. The core of
Filipino personhood is kapwa. This notion of a “shared Self” extends
the I to include the Other. It bridges the deepest individual recess of a
person with anyone. Thus, the Filipino self-expression does not exist
in isolation and like art it is expressed, communicated, and
experienced.

• Art aside from its decorative function, it may also be propaganda, a

therapy, or a political statement that unites, or promote art self, for
the common good, for the elite, or for the nation.

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References:

Art History Summary. (n.d.).Humanism. Retrieved at

http://arthistorysummerize.info/ArtHistory/humanism/

You can do th ese !

Figure 1 Figure 2

From https://www.coursehero.com/file/47507508/Lecture-1pdf/

Activity 1: What are the similarities and differences found in figure 1 and figure 2?
(5 points)
1. The picture figure 1 has a similarities because the face of statue
are they same in the picture of a man
2. In the figure 2 have a different meaning because in the first
question telling that who are and the second picture telling you
put a pictures.

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Activity 2. Study the following slides in preparation for the proceeding questions:
Slide A

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Slide B Slide C

Slide D Slide E

Slides from : https://www.coursehero.com/file/47507508/Lecture-1pdf/

Activity 3. Read the article or watch from Youtube the topic: Is there a difference
between art and craft? (See Appendix 2.1)
Activity 4. Study the following slides and answer the questions that follow:

Slide 1 Slide 2

Slide 3

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Slide from https://www.coursehero.com/file/47507508/Lecture-1pdf/

Slide 4 Slide 5

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Slides from https://www.coursehero.com/file/47507508/Lecture-1pdf/

Slide 6 Slide 7

Activity 5.
Read any of the following given articles by clicking the link below or the
attached printed copy at the end of Lesson 2.

1. The Manunggul Jar as a Vessel of History by Michael Charleston B. Chua

(Link: http://www.artesdelasfilipinas.com/archives/50/the-manunggul-jar-
asa-vessel-of-history) (See Appendix 2.1)

2. Inukit Hinulma Nilikha Iconic Symbols of the Indigenous by Loren

Legarda (Link: https://www.youtube.com/watch?v=H2CxDfWntAw) (See
Appendix 2.2)

Analysis

1. What are your thoughts/ideas about Western concept of Humanities?

(refer to slides A-E) (10 points)
The Western concept of human rights is based on the principle of
inalienable, innate rights granted to all individuals. Individuals, not
groups, have internationally recognized human rights because human
rights are founded on individual rights.
2. What are your thoughts/ideas about Filipino concept of Humanities? (refer
to slides 1-7). Explain this saying - “Madaling maging tao mahirap
magpakatao. (10 points)
Humanities are studies of human culture that include literature,
philosophy, and history. Humanities study provides general knowledge
but not a practical trade — you probably wouldn't study humanities in
beauty school.
3. Write something about your personal experiences with your self-
discovery (interests, hobbies, strengths, weaknesses, favorite activities,
activities you dislike most, etc). (10 points)

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Volunteering, community service, and charitable work are all options.

Sports such as team or league competition, hiking, or other forms of
exercise. Writing, music, painting, and crafts are examples of creative
arts. Cooking or gardening are two options.

4. Choose and take a photo/documentation of at least one Filipino arts and

crafts found in your immediate environment (inside your house, internet
or within the community) and describe it. Use these questions as your
guide: What is it? Who made it? When? Where? How much? t? Who
made it? When? Where? How much? (5 points)
Folk architecture, maritime transport, weaving, carving, folk performing
arts, folk (oral) literature, folk graphic and plastic arts, ornaments, textile
or fiber art, pottery, and other artistic expressions of traditional culture
are examples of traditional arts in the Philippines.

5. What Filipino world view and characteristics are express in that art or
craft? (5 points)
Traditional arts such as weaving, metalsmithing, pottery, woodcarving,
and goldsmithing are well-known throughout the country and highly
valued by both locals and tourists. The southern Philippine Islands are
known for their valuable ornate carvings.

Highlights of the Lesson

• Socrates is famous for arguing that we must Know Thyself because the
unexamined life is not worth living. On the other hand, St. Augustine of Hippo
believed that truth lies within the person. Both famous philosophers believed
on the importance of self-knowing and understanding to be wise.

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• Human as the only animal to leave records behind and the only rational
animal whose products and idea distinct from their material existence.

• The Western idea of Humanities, if translated with the Filipino concept, the
notion of humanism is close to the concept of pagkatao or pagpapakatao.
Felipe de Leon in his article entitled “Defining the Filipino Through the Arts,”
believed that all human beings share this innermost sacred core: ubod ng
kalooban. The Filipino personhood is compared to a legendary manunggul jar
found in Tabon Cave Complex in Lipuun Point, Quezon, Palawan. It was given
a whole new meaning when it represents the Filipino inner and outer core.

• The Philippine culture must be dynamic in its relationship with other cultures
in the world. By harmonizing the Western and the Filipino concepts of art and
its practice, a truly Philippine identity in the arts would emerge out of the
shared cultural universe, not only of our own people, but of the humanity.

Application (You can use a pad paper for your answers)

1. Review your answer for question number five of the Analysis (documentation
of a Filipino art or craft) and describe the personal meaning/symbol of the art
or the craft that you have chosen? How about its cultural/ historical/ social
significance to the community? (10 points)
Traditional arts such as weaving, metalsmithing, pottery, woodcarving, and
goldsmithing are well-known throughout the country and appreciated by both
locals and tourists. The valuable ornate carvings are a specialty of the
southern Philippine Islands.

2. What are the possible challenges/problems related to this art/craft? How

about the possible challenges’ artists have experience in this modern time?
(10 points)

It is difficult to find art that is both subject and content. It necessitates a

thorough intellectual understanding of aesthetic expressions. Paintings have a
deep meaning that only those with a strong sense of knowing can
comprehend.

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Rubric for Rating the Art/Craft Documentation

CRITERIA Excellent Very Good Good Fair (4-6
(16-20 points) (11-15 points) (11-15 points) points)
Presentation The student The student The student The student has
and Analysis has completely has has partly never
of the demonstrated demonstrated demonstrated demonstrated an
Art/Craft an an an understanding of
understanding understanding understanding the any
of all
of the many of the few principles and
principles and
elements used principles and principles and elements used in
in the art/craft elements used elements used the art/craft
under study. in the art/craft in the under study.
under study. art/craft
under study.

References:

ANC-NCCA (2015). “Dayaw: Inukit, Hinulma, Nilikha (Iconic Symbols of the

Indigenous)” Episodes 3. Retrieved on July 2020 at https://www.you
tube.com/wat ch?v=8KlO 6_Jpd-4.

Morelli, L (2014). “Is there a difference between art and craft?” Retrieved on June
2020, at https://www.you tube.com/watch? v=tVdw60eCnJI

Orate, A. (2017) The Humnities and Filipino Personhood. Lecture from

https://www.coursehero.com/file/47507508/Lecture-1pdf/

Reyes, J. (2015) An Introduction to a Filipino Virtue Ethics. Volume. Asian Philosophy

Journal, Vol.25, page 18. Retrieved on July 2020 at
https://www.tandfonline.com/doi/abs/10.1080/09552367.2015.1043173?journal
Code=casp20

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http://www.napavalley.edu/academics/Instruction/tlc/Documents/Creating%20Gradi
ng%20Rubric%20Examples.pdf

SUNY Geneseo General Education Rubrics (2020). Retrieved on July 2020 at

http://gened.geneseo.edu/pdfs/assess_tools_revised.pdf

Filipino personhood. Retrieved at

https://www.spaceandmotion.com/PhilosophySocrates-Philosopher.htm

APPENDIX 2.1

Is there a difference between art and craft?

by Laura Morelli

When you hear the word art, what comes to mind? A painting, like the Mona
Lisa, or a famous sculpture or a building? What about a vase or a quilt or a violin? Are
those things art, too, or are they craft? And what is the difference anyway?

It turns out that the answer is not so simple. A spoon or a saddle may be finely
wrought, while a monument may be, well, uninspired. Just as not every musical
instrument is utilitarian, not every painting or statue is made for its own sake. But if
it's so tricky to separate art from craft, then why do we distinguish objects in this
way?

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You could say it's the result of a dramatic historical turn of events. It might
seem obvious to us today to view people, such as da Vinci or Michelangelo, as
legendary artists, and, of course, they possessed extraordinary talents, but they also
happened to live in the right place at the right time, because shortly before their
lifetimes the concept of artists hardly existed.

If you had chanced to step into a medieval European workshop, you would
have witnessed a similar scene, no matter whether the place belonged to a
stonemason, a goldsmith, a hatmaker, or a fresco painter. The master, following a
strict set of guild statutes, insured that apprentices and journeymen worked their way
up the ranks over many years of practice and well-defined stages of accomplishment,
passing established traditions to the next generation.

Patrons regarded these makers collectively rather than individually, and their
works from Murano glass goblets, to Flemish lace, were valued as symbols of social
status, not only for their beauty, but their adherence to a particular tradition. And the
customer who commissioned and paid for the work, whether it was a fine chair, a
stone sculpture, a gold necklace, or an entire building, was more likely to get credit
than those who designed or constructed it.

It wasn't until around 1400 AD that people began to draw a line between art
and craft. In Florence, Italy, a new cultural ideal that would later be called
Renaissance Humanism was beginning to take form. Florentine intellectuals began to
spread the idea of reformulating classical Greek and Roman works, while placing
greater value on individual creativity than collective production.

A few brave painters, who for many centuries, had been paid by the square
foot, successfully petitioned their patrons to pay them on the basis of merit instead.
Within a single generation, people's attitudes about objects and their makers would
shift dramatically, such that in 1550, Giorgio Vasari, not incidentally a friend of
Michelangelo, published an influential book called, "Lives of the Most Excellent
Painters, Sculptors and Architects," elevating these types of creators to rock star
status by sharing juicy biographical details.

In the mind of the public, painting, sculpture and architecture were now
considered art, and their makers creative masterminds: artists. Meanwhile, those who
maintained guild traditions and faithfully produced candlesticks, ceramic vessels, gold
jewelry or wrought iron gates, would be known communally as artisans, and their
works considered minor or decorative arts, connoting an inferior status and
solidifying the distinction between art and craft that persists in the Western world.

So, if we consider a painting by Rembrandt or Picasso art, then where does

that leave an African mask? A Chinese porcelain vase? A Navajo rug? It turns out that
in the history of art, the value placed on innovation is the exception rather than the
rule. In many cultures of the world, the distinction between art and craft has never
existed.

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In fact, some works that might be considered craft, a Peruvian rug, a Ming
Dynasty vase, a totem pole, are considered the cultures' preeminent visual forms.
When art historians of the 19th Century saw that the art of some non-Western
cultures did not change for thousands of years, they classified the works as primitive,
suggesting that their makers were incapable of innovating and therefore were not
really artists.

What they didn't realize was that these makers were not seeking to innovate at
all. The value of their works lay precisely in preserving visual traditions, rather than in
changing them. In the last few decades, works such as quilts, ceramics and wood
carvings have become more prominently included in art history textbooks and
displayed in museums alongside paintings and sculpture.

So maybe it's time to dispense with vague terms like art and craft in favor of a
word like visual arts that encompasses a wider array of aesthetic production. After all,
if our appreciation of objects and their makers is so conditioned by our culture and
history, then art and its definition are truly in the eye of the beholder.

Reference:

Transcript retrieved from https://www.youtube.com/watch?v=tVdw60eCnJI

APPENDIX 2.2

The Manunggul Jar as a Vessel of History

by: Michael Charleston B. Chua

"…the work of an artist and master potter." - Robert Fox

27th April 1995—I was 11 years old when I visited the National
Museum -- the repository of our cultural, natural and historical
heritage.
I remembered the majesty of climbing those steps and walking
past the Neo-classical Roman columns until I was inside the
Old Congress Building.

Today, if the Metropolitan Museum’s identifying piece was the painting Virgenes

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Cristianas Expuestas Al Populacho by Felix Resurrecion Hidaldo and the GSIS Museum its
Parisian Life by the painter Juan Luna, the National Museum’s, El Spoliarium, Luna’s most
famous piece. Many people come to the museum just for this painting. But another
lesspopular but quite significant piece was the Manunggul jar.

The Manunggul jar was one of the numerous jars found in a cave believed to be a
burial site (Manunggul, was part of the archaeologically significant Tabon Cave Complex in
Lipuun Point, Quezon, Palawan) that was discovered on March 1964 by Victor Decalan,
Hans Kasten and other volunteer workers from the United States Peace Corps. The
Manunggul burial jar was unique in all respects. Dating back to the late Neolithic Period
(around 710 B.C.), Robert Fox described the jar in his landmark work on the Tabon Caves:

The burial jar with a cover featuring a ship-of-the-dead is perhaps unrivalled in

Southeast Asia; the work of an artist and master potter. This vessel provides a clear
example of a cultural link between the archaeological past and the ethnographic present.
The boatman is steering rather than padding the "ship." The mast of the boat was not
recovered. Both figures appear to be wearing a band tied over the crown of the head and
under the jaw; a pattern still encountered in burial practices among the indigenous peoples
in Southern Philippines. The way the hands of the front figure are folded across the chest
is also a widespread practice in the Islands when arranging the corpse.

The carved prow and eye motif of the spirit boat is still found on the traditional
watercraft of the Sulu Archipelago, Borneo and Malaysia. Similarities in the execution of
the ears, eyes, nose, and mouth of the figures may be seen today in the woodcarving of
Taiwan, the Philippines, and elsewhere in Southeast Asia.

My familiarity with the Manunggul jar was spurred by the image in the PHP1,000
bill, circulated in 1995. Viewing the artifact up close fascinated me tremendously. I saw the
artistry of the early Filipinos reflected in those fine lines and intricate designs. We were
definitely not as dumb as the Spaniards told us we were!

After a few years, when I took a cultural history subject during my undergraduate
course in UP Diliman under Dr. Bernadette Lorenzo-Abrera, the Manunggul jar was given a
whole new meaning. When an archaeological find was explained anthropologically, it was
imbibed with far-reaching implications in re-writing its history.

The Manunggul jar served as a proof of our common heritage with our
Austronesian-speaking ancestors despite the diversity of cultures of the Philippine peoples.
Traces of their culture and beliefs were seen in different parts of the country and from
different Philippine ethno-linguistic groups.

It was also a testament of the importance of the waters to our ancestors. The seas
and the rivers were their conduit of trade, information and communication. According to

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Peter Bellwood, the Southeast Asians first developed a sophisticated maritime culture
which made possible the spread of the Austronesian-speaking peoples to the Pacific
Islands as far Madagascar in Africa and Easter Island near South America. Our ships—the
balanghay, the paraw, the caracoa, and the like—were considered marvelous technological
advances by our neighbors that they respected us and made us partners in trade. These
neighbors later then, grew to include the imperial Chinese.

Many epics around the Philippines would tell us of how souls go to the next life
aboard boats, passing through the rivers and seas. The belief was very much connected
with the Austronesia belief in the anito. Our ancestors believed that man is composed of
the body, the life force called the ginhawa, and the kaluluwa (soul). The kaluluwa, after
death, can return to earth to exist in nature and guide their descendants. This explained
why the cover of the Manunggul jar featured three faces: the soul, the boat driver, and of
the boat itself. For them, even things from nature have souls and lives of their own. That’s
why our ancestors respected nature more than those who thought that it can be used for
the ends of man.

Seeing the Manunggul jar once more, I was also reminded of the inventiveness of
the early Filipinos as well as the concepts and values they hold most-- their concept of the
soul, for example, are believed to exist only on good-natured and merciful people. The
belief was that the soul gave life, mind, and will to a person and if this was what our
ancestors valued and exemplified, then our nation was not only great, but lived by
compassionate people.

However, the colonial masters in the past labeled our ancestors no good and even
tried to erase our legacies and values, and despite the media today showing how
shameful, miserable and poor our country is, from time to time there would be people who
echo the same values that our ancestors lived by.

In the 1890s, the Katipunan movement of Andres Bonifacio, which spearheaded the
Philippine Revolution, tried to revive the values of magandang kalooban. During the People
Power Uprising in1986, we showed the world the values of pananampalataya,
pakikipagkapwa, pakikiramay, pagiging masiyahin, bayanihan, pagiging mapayapa, and
pagiging malikhain --values that were deeply rooted in the Filipino culture. It was the
country's national hero, José Rizal, who once wrote, in his essay, Filipinas Dentro de Cien
Años, (The Philippines Within a Century) that:

With the new men that will spring from her bosom and the remembrance of the
past, she will perhaps enter openly the wide road of progress and all will work jointly to
strengthen the mother country at home as well as abroad with the same enthusiasm with
which a young man returns to cultivate his father’s farmland so long devastated and
abandons due to the negligence of those who had alienated it. And free once more, like
the bird that leaves his cage, like the flower that returns to the open air, they will discover
their good old qualities which they are losing little by little and again become lovers of
peace, gay, lively, smiling, hospitable, and fearless.

The Manunggul jar was a symbol of the National Museum’s important role in
searheading the preservation the cultural heritage—pamana—using multi-disciplinary
techniques. It was a testament of how art can be a vessel of history and culture with the

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help of scholars. In this light, a simple jar became the embodiment of the history,
experiences, and aspirations of the people and how the values of maka-Diyos, makatao at
makabansa became part the value system of the Filipinos.

I have visited the manunggul jar numerous times since that April of 1995 at the
Kaban ng Lahi room of the National Museum II—The Museum of the Filipino People
(former Department of Finance Building). Everytime, I look at it I am reminded of how
great and compassionate the Filipinos are and how I could never be ashamed of being a
Filipino. Everytime I look at the Manunggul jar, I see a vision that a new generation of
Filipinos will once more take the ancient balanghay as a people and be horizon seekers
once more.

Reference:

Chua, M.C. (2020), Retrieved on July 12, 2020 at

http://www.artesdelasfilipinas.com/archives/50/the -manunggul-jar-as-a-vessel-ofhistory

APPENDIX 2.3

Inukit, Hinulma, Nilikha” (Iconic Symbols of the Indigenous)

by Loren Legarda: Dayaw Season 3 Episode 3 - “Inukit, Hinulma” Jun 20,

2017

There is much to be learned from people who have lived in this land much
longer than we have. A knowledge that manifests itself not only in the relationships
with nature; there are songs and epics, their technology and creations. But in their
very survival only by being aware of this heritage of the indigenous can we find not
only our roots but our direction.

Their pride and ours captured in one-word Dayal. I am standing in a gallery

International Museum surrounded by works created with Islamic peoples of
Mindanao to us these are beautiful artworks coveted for their beauty and their
exoticism. But any work of art; any piece of culture becomes all the more beautiful
when it is meaningful and the deeper meanings of these works are bound
intrinsically to the cultures that brought these to life meaningful.

Connections can only come when we listen to the stories of these works when
we understand the circumstances of their creation, the mindsets of craftsmen who
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created them, the motifs and the symbols, the experiences and memories, the
processes and only then will we understand that these are more than just beautiful.
They are significant and important sources of dial; our knowledge. Our pride iconic is
the word for the Ifugao balloon a symbol so prevalent as it has appeared on coffee
labels, t-shirts works of Contemporary Art given as a logo of a local film customer.

The Ifugao za renowned for having a pantheon of some 2,000 deities. All who
were invoked for various rituals and practices that marked the stages, relationships
and cycles of their life. The balloon deities were called on the final stages of the rice
harvest. Captain Hook, the ayah in a series of rituals called look young. They are
doused with a blood of sacrificial animals and laid out on read maps together with
the first sheaves of rice heirloom jars ritual containers and the sacrificial animal all
came in pairs.

Male and female and were believed to safeguard the granaries and ensure
the multiplication of the rice harvest. The balloon were carved from the trunks of the
sacred Nara trees pre-selected through a process of divination. Traditionally the
carving of boodle was characterized for his secrecy those wealthy enough to have
them. Commissioned were required to feed the Carver's, often priests during the
carving. When they were finished, the male and female statues will be brought to the
island or a granary of the owners. What a feast was given for the village thus the
privilege of owning balloon month or came with the obligation to feed.

Kin and village for traditional ifugao would all figures are associated with
times of plenty of bountiful harvests; that the balloon deities would ensure year after
agricultural year. These days though many ifugao families still choose to hold on to
their balloon figures, many are carved for the tourist trade more than easily
appropriated images. These deities represent longstanding traditions that mark the if
ago agricultural year deities indeed of the official soil and its produce here at the
Islamic galleries of a National Museum.

The objects speak of a rich artistic tradition, the tradition of Oakland. Oak
here, it's a design language that is distinctly marinelle shared in various degrees with
a mug in the now. In a town, soup it is a visual language that speaks in flowing 48
lines curly cues and undulating patterns art. Scholars point to the Naga, the great
serpent dragon of Southeast Asian lower as the inspiration for aakhir designs and
patterns. But the flowing serpent form is given birth to floral patterns, curvilinear
abstractions, vivid color schemes, aniss can be seen from the National Museum
collection.

Akira's decorated everything from utilitarian objects like food containers

dados both prose and paddles to prestige objects like the sari Minogue. Akira's found
on wood brass textile even pottery in the municipality of Suganya inland. Al akir
continues to flow adorning surfaces of objects created by Tobias; talented craftsmen.
The guy is renowned as a village of talented craftsmen goes back to the early 20th
century when the royal houses of Lana would Commission objects from the
craftsman.

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Thus the community established a tradition of hand crafting in wood brass,

silver and gold, all by craftsman with their own specialties and sensibilities to truly
appreciate the forms. We must place them in the context of two aspects: the first is
the Islamic tenets that forbade the depiction of human figures in art the creative
marinelle spirit responded by developing a kir an artistic response to a strict religious
tenet. The second factor is Marana royal life much of this art is of a refined and
courtly nature used by dhatus and their women princes and princesses noble families
but royal patronage did not keep the ordinary mara.

Now, from enjoying the artistic tradition here into Gaia, the present, the signs
with a buzz of that refine cast Carver's work would into the stunning giant drums
called Pabu ornamenting every bit of space with akhiya. The mythic sorry minogue is
born again and again in the vibrant colors of the marinelle.

Talent carpenters and inlay artists work together on chests painstakingly

inlaid with minut pieces of mother-of-pearl. Artisans can bind the crafts of carving
casting brass repre say to create ceremonial daggers. Increase bombs of all sizes are
also cast in tune from cutting to shaping the gong to forming the boss and to final
polishing and tuning these individual pieces will come together to form the Kowloon
Tong. Gong and some music that is both pleasing to hear played on instruments.
Wonderful tanaka is being branded as the municipality in land of the truth that
produced all kinds of products emanating from brass. Its products are becoming
important because in a house where there is a display of brass especially about
another.
Baba or a tree made from brass is a symbol of reality from the Murano
community. It is a syllable everybody wants to have a livelihood. Anywhere you go in
the Philippines where there are markets, you will find in Murano and asked why we
were you prob he said I am from Tavella because we learn from that silly we make
admission what makes to gaya truly unique is that each and every button guy of the
municipality has its own specialty because our culture is not beat as long as we live.

In this world, our culture is present so we are happy you visit our houses
here is that anywhere, even myself, I have a small house I have a now care because
that symbolizes royalty, symbolizes culture and no other people in this world who has
originated this. We only de marrón house to see gaya only as a municipality of
craftsmen and artisans is to miss out on the importance of the technologies and
processes that were developed here. Technologies like lost wax casting that
produced more than just decorative objects. Canon's like this LAN taka in the
collection of the National Museum pointer the ways in which indigenous skills and
technical processes could also produce great weapons.

The feared blades of the Islamic warriors the Chris the borrow Campina in
vanagas were produced for the same technology in court. Life in ordinary home, life
in times of peace and war the rich and dizzying variety of these objects mailed both
form and function. All these objects are the place in maranhão society in the
mosques on boats even in ordinary homes and in the great community houses not
Oregon.

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Dr. Rogan is the traditional home of the marinelle datos but more than just a
home for his family it was also a gathering place for the community of the dhatus
followers. The large upper room was a kitchen living room bedroom and consultation
space aakhir announces its presence and traces its roots to the mythical Naga
through the Panola the projecting beams that give the Touareg on the appearance of
a boat borne on the backs of the mythic nada.

Reuben house is a traditional house of families in the province of Lanao del

Sol. They are actually occupied by people of noble ancestry the salt and uranium. It
is different from ordinary houses because that cannot be occupied by ordinary
person. Secondly, these are constructed for the Sultan. Handsome, he just ordered
my heart be constructed and people will go into the Seine and they will construct me
hot result on this.

Knowledge in constructing a house is actually handed down from one

generation to another even the location itself is selected on the basis of strategic
position. Usually, a toga is constructed in a place which is not where winds are not
very strong. Another one, this is the toggle, is the epicenter of the Menominee
community because this is where political social economic and religious activities of
the Maranao are being discussed in detail. And in this inspiring trogon we can see a
snapshot of local leadership and community relationships but in the face of a
changing Islamic philosophy affecting the entire world.
What are the chances for the survival of the Torah Ghana as well as the other
crafts? We've seen many more now seem so any mode of the Arabic culture. They
started aping the Taliban. They started taping the Muslims of Afghanistan. They
started thinking that anything that this channel is instill. Anak sada started wearing
the hijab covering women fully that means there was no longer any spiritual basis for
the traditions because the solutions used to be inspired by traditional belief system.
But now if you destroy the traditional belief system, they'll be in our inspiration for
them to continue with the art that they purchased.

As an expression of the traditional belief system and therefore really the

technology that is the problem. The problem is worldview, a way of looking at life
once I cultural forms of expression will also disappear symbols of race and its ideals
and beliefs carved in wood cast in metal built from a synthesis of myth and tradition
practical knowledge and strict esthetic symbols of a particular race or group yes but
symbols that can be shared by all Filipinos as a continuing source of dial our
knowledge, our pride.

Reference:

Transcript retrieved from https://www.youtube.com/watch?v=H2CxDfWntAw

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UNIT 1- LESSON 2

ANSWER SHEET

NAME:Jibb A. Villa CR., YR. & SEC.:_BS-Entrep 2-A__________________

LESSON NO. & TITLE: _______________________________________________________
DATE: ___________________________________ SCORE:________

1) What are the similarities and differences found in figure 1 and

figure 2 (p. 2)?
(5 points)
 The picture figure 1 has a similarities because the face of statue are
they same in the picture of a man
 In the figure 2 have a different meaning because in the first question
telling that who are and the second picture telling you put a pictures.

2) What are your thoughts/ideas about Western concept of Humanities? (refer to

slides A-E, p. 3) (10 points)
The Western concept of human rights is based on the principle of inalienable,
innate rights granted to all individuals. Individuals, not groups, have internationally
recognized human rights because human rights are founded on individual rights

3) What are your thoughts/ideas about Filipino concept of Humanities? (refer to slides
1-7). Explain this saying - “Madaling maging tao mahirap magpakatao. (10
points)
Humanities are studies of human culture that include literature, philosophy, and
history. Humanities study provides general knowledge but not a practical trade —
you probably wouldn't study humanities in beauty school.

4) Write something about your personal experiences with your self-discovery

(interests, hobbies, strengths, weaknesses, favorite activities, activities you dislike
most, etc). (10 points)
Volunteering, community service, and charitable work are all options. Sports such
as team or league competition, hiking, or other forms of exercise. Writing, music,
painting, and crafts are examples of creative arts. Cooking or gardening are two
options.

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5) Choose and take a photo/documentation of at least one Filipino arts and crafts
found in your immediate environment (inside your house, internet or within the
community) and describe it. Use these questions as your guide: What is it? Who
made it? When? Where? How much? t? Who made it? When? Where? How much?
(5 points)
Folk architecture, maritime transport, weaving, carving, folk performing
arts, folk (oral) literature, folk graphic and plastic arts, ornaments, textile
or fiber art, pottery, and other artistic expressions of traditional culture
are examples of traditional arts in the Philippines.

6) What Filipino world view and characteristics are express in that art or craft?
(5 points)
Traditional arts such as weaving, metalsmithing, pottery, woodcarving,
and goldsmithing are well-known throughout the country and highly
valued by both locals and tourists. The southern Philippine Islands are
known for their valuable ornate carvings.

7) Review your answer for question number six and describe the personal
meaning/symbol of the art or the craft that you have chosen? How about its
cultural/ historical/ social significance to the community? (10 points)
Traditional arts such as weaving, metalsmithing, pottery, woodcarving, and
goldsmithing are well-known throughout the country and appreciated by both locals
and tourists. The valuable ornate carvings are a specialty of the southern Philippine
Islands

8) What are the possible challenges/problems related to this art/craft? How about
the possible challenges’ artists have experience in this modern time? (10 points)
It is difficult to find art that is both subject and content. It necessitates a thorough
intellectual understanding of aesthetic expressions. Paintings have a deep meaning
that only those with a strong sense of knowing can comprehend.

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WVSU A.A. Module