ASPECTS OF

PRODUCTIO
N
 Aspects of
Production for
Visual Arts
 Aspects of Production for Visual Arts
 Producing art is not just about the making of the
actual art piece but rather includes all the other
details, processes and elements that contribute in its
creation.
 These details are called aspects of production.
These aspects serve to augment and strengthen the
artistic merits in the artistic expression.
 Aspects of production can be seen not just during
the creation of artwork but in all different phases in
its creation including the before and after of its
construction.
 Aspects of Production for Visual Arts
 Some aspects of productions are universal in nature,
and such can be found in all the different fields of
art. An example of universal aspect of production
would be the “audience” or viewer. This is the one
who looks at the artwork.
 All the different fields of art whether the visual or
the performing arts would have this element. Other
aspects of production are specific to a discipline, an
example of this is “acting,” this aspect of production
is found in the theater but not in the visual arts.
 Aspects of Production for Visual Arts
 In the field of visual arts there are different facets or
aspects of production in creating an artwork.
 It does not simply begin and end with the creation of
art. It is not as simple as making a drawing or a
painting, you display it and you are done. It is more
complex than that.
 Every artwork is a product of the various different
details that you often overlook. But if you take the
time, you would realize that these small details have
actually contributed in the creation of the artwork
and added another layer to its value.
 Aspects of Production for Visual
Arts
Key Terms
 Awards
 Art Criticism and Scholarship
 Art Education
 Media
 Organizations
 Art Patronage
 AWARDS
 Awards are given to artists to recognize a single
achievement or the career as a whole. Most often,
awards that are given for a single achievement is
won through competitions and contests.
 Some of the most popular visual arts competition
in the Philippines include the Shell National
Students Art Competition, the PLDT-DPC Visual
Arts Competition, the Metrobank Art Competition,
the PLDT-DPC Visual Arts Competition, the
Metrobank Art and Design Excellence (MADE),
Vision Petron National Student Art Competition
and the GSIS Art Competition.
 AWARDS
 Many contemporary Filipino artists started their
careers by joining and winning awards from
competition. Examples are BenCab who placed in
1962 in the Shell National Students Art
Competitionand Ronald Ventura in 1990 for the same
competition, Antonio Leano in 1981 for MADE.
 Some awards are given to artists to acknowledge
their talent or their contributions to their craft. Some
of the most prestigious and respected of these awards
are the TOYM, Gawad CCP Para sa Sining, Thirteen
Artists Awards and the highest of which are the Order
of the National Artist Award and the GAMABA.
 ART CRITICISM AND SCHOLARSHIP
 Criticism and scholarship are two of the most
related aspects in the production of art, whether
visual or performing.
 Art criticism is the evaluation of an artwork
based on its artistic merits, its historical and
cultural importance.
 Art scholarship on the other hand, is the orderly
organization and study of art, whether it is the
actual artwork itself, the artists, or its art form.
 ART CRITICISM AND SCHOLARSHIP
 Art scholarship includes the documentation
and authentication of artworks. It also
includes the study of the historical and
theoretical developments of art in relation to
social, cultural and historical considerations.
 Many art scholars are art critics since art
criticism is a discipline involved in art
scholarship.
 ART EDUCATION
 Art education is the transfer of knowledge, skills and
art appreciation from a teacher to a student.
Education can be done in both formal and informal
settings.
 Formal education pertains to teaching done in a
specified venue such as a school, while informal
education pertains to a more relaxed environment
such as a master-apprentice relationship found in
many ethnic groups, where knowledge and skill are
transferred through apprenticeship.
 ART EDUCATION
 Art education in schools were only officially
included in the curriculum in 1960. This formal
education incorporated teaching of skills and
knowledge as well as art history, theory, criticism
and appreciation. The most prominent art school
in the country is the Philippine High School for the
Arts in Los Banos, Laguna. This government-
funded high school is dedicated to artistically
gifted student scholars.
 ART EDUCATION
 Another venue for art education are workshops.
Often managed by art organizations, art workshops
are often short courses that focuses on a particular
art skill. These workshops are often held during
summer breaks or weekends since often times
participants of these workshops are students.
There are art workshops that cater to adults and
these are often scheduled during the weekends or
after work hours.
 MEDIA
 Media is the visual art component that
pertains to the materials the artist uses for
his artwork. There are many different types
of media an artist can use at his/her disposal
and these only increase with time due to new
discoveries and technological developments.
Each medium entails different manipulative
processes for an artist to achieve their
desired outcome.
 MEDIA
 The most common and traditional examples of media
used by contemporary artists are clay, wood, metal,
stone, fiber, dyes, paint, ink, pencil, paper, glass,
plastic and film. The newer media types are
computer technology, light, generic, trash, etc. It can
be used alone or in combination with two or more
mediums. Used in combination, it would fall into the
category of mixed media.
 There is really no limit on the type or kind of medium
a contemporary visual artist could use. The boundary
is all left to his/her imagination.
 ORGANIZATIONS
 Organizations are formed when people of common
goals band together for a cause or goal, this is true for
many art organizations.
 Many artists work together to establish unity and
camaraderie between fellow artists.
 They also form organizations to protect each other’s
rights and voice out concerns that affect them as visual
artists.
 There are many art organizations in the Philippines,
some are international offshoot organizations while
others are nationwide organizations and many are
regional art organizations.
 ORGANIZATIONS
 The Asian Cultural Council (ACC) is an international
art organization that began in 1963 whose vision is to
provide a support system between the art and cultural
exchanges between the United States and Asia
through visual and performing art projects.
 It has a counterpart in Manila called the Asian
Cultural Council Philippine Foundation (ACCPF)
which was created in 2000. Like its foreign
counterpart, its goal is to increase opportunities for
Filipino artists, academics and cultural organizations
through the promotion of Filipino heritage.
 ORGANIZATIONS
 One of the most respected visual art organizations in the
Philippines is the Art Association of the Philippines (AAP). It
started as an alumni association organized by respected art
patron Purita Kalaw Ledesma (1914-2005) for the UP School of
Fine Arts in 1948, which eventually became an art organization
for all visual artists. AAP hopes as stated in their 1986 amended
by-laws, “to advance and foster, and promote the interests of
those who work in the visual arts.”
 As one of the country’s leading organization, it has affiliations
with numerous regional art organizations such as the Agono
Ateliers, Baguio Group, Batangas Art Group, Bicol Artist
Society, Binangonan Art Group, Davao Artist, Iloilo Art Group,
Quezon City Art Group, etc.
 ACTIVITY 1
My Region’s Art Group
 Research about your region’s art group. If
there is none, choose the art organization
nearest your area. Find out about its history,
how it started, know some of the notable
members of the group, etc.
 ART PATRONAGE
 The purchase or commission of an artwork is called art
patronage. It can also be used to describe the financial
funding given by an individual or organization to an
artist.
 Patrons most often come from the upper class or
wealthy individuals or groups who have the means to
buy or support an artist.
 In the precolonial times, patronage in art can be seen
through the barter and trade of decorative arts and
crafts such as earthenware, textile, metalcrafts and
jewelry.
 ART PATRONAGE
 During the colonial times and perhaps in
Philippine history, the biggest art patron is the
catholic Church. The Church often
commissioned artists and artisans to create
religious paintings and sculptures that were used
for evangelization.
 Also during the Spanish occupation, artists
earned a living by selling genre paintings sold to
tourists and painting portraits commissioned by
the wealthy individuals and families.
 ART PATRONAGE
 During the American colonial times, many artists
were commissioned to do draw illustrations for
books, commercials and other marketing
paraphernalias.
 In contemporary times, artists are represented by
galleries. The galleries market and promote the
artist’s work through exhibits and the art patrons
buy the woks from there. A percentage of the sell
goes to the gallery as commission or
representational fee.
 ACTIVITY 2
Aspects of Production for Visual Arts
 Go to an art gallery and choose a particular
artwork that you like and create a critique of the
said piece.
 Make sure to take a picture of the said artwork
and get the important information about the work
such as the artist, medium or media used, and
when it was created.
 Try to see if the piece is part of a collection and
give insights on how the artist expressed the art.
 REVIEW:
 Awards are given to artists to recognize a single
achievement or the career as a whole.
 Art criticism is the evaluation of an artwork based on its
artistic merits, its historical and cultural importance.
 Art scholarship on the other hand is the orderly
organization and study of art, whether it is the actual
artwork itself or the artists or its art form.
 Art education is the transfer of knowledge, skills and art
appreciation from a teacher to a student. Education can
be done in both formal and informal settings.
 REVIEW:
 Media is the visual art component that pertains to
the materials the artist uses for his/her artwork.
 Organizations are formed when people of
common goals band together for a cause or goal,
this is true for many art organizations.
 The purchase or commission of an artwork is
called art patronage. It can also be used to
describe the financial funding given by an
individual or organization to an artist.
 ASPECTS OF
PRODUCTION
FOR
PERFORMING
ARTS
Key Terms
 Audience, Time and Space
 Awards and Grants
 Composition
 Choreography
 Acting and Directing
 Script
 Sets, Costume and Lighting
 Translation and Adaptation
 The different disciplines of the performing arts are
very interrelated; music , dance and theater are
often combined together in its artistic expression.
So it should not come as a surprise that many
aspects of productions of the performing arts are
similar and even interchangeable at times.
 The succeeding lesson will first tackle the parallel
aspects of production of the performing arts first,
and after which the aspects of production that are
unique to the various fields of the performing arts
will be discussed.
COMMON ASPECTS
OF PRODUCTION IN
THE PERFORMING
ARTS
 Common Aspects of Production in the
Performing Arts
 Audience, Time and Space
 Awards and Grants
 Criticism
 Organizations
 Education
 AUDIENCE, TIME & SPACE
 The performing arts have been presented to various
audiences, at different venues, and different
occasions. This is dependent on the prevalent social
norms at the particular time it is presented.
 For the different ethnic groups in the Philippines,
most of the performing arts are heavily integrated to
their daily lives. The types and forms of performing
arts are as assorted as the events that they
accompany.
 AUDIENCE, TIME & SPACE
 Theater as well as music and dance can be done in
the privacy of one’s house or can be performed
outdoors such as the fields or while at work. It is
also staged during rituals or formal occasions such
as weddings, births and funerals.
 In the urbanized areas, music dance and theaters are
performed in both private and public spaces.
Residential house or sometimes the streets
accompanied with a videoke machine serve as mini
concert grounds during celebrations and fiestas.
 AUDIENCE, TIME & SPACE
 During fiestas, streets are turned into makeshift
stages for singing and dancing competitions as well
as beauty contests. Malls and similar establishments
serve as venues for concerts, bands, dance
competitions and plays.
 Churches since the Spanish colonial times are regular
venues for songs and liturgical dramas. More formal
performances are stage in more conventional theaters
such as the Cultural Center of the Philippines, SM
Mall of Asia Arena, the Philippine Arena in Manila,
the International Eucharistic Convention Pavilion in
Cebu and the CAP Grand Auditorium in Davao
 AWARDS AND GRANTS
 As with the visual arts, awards and grants are given
to performing artists as well. Awards are given to
performing artists as recognition for their
achievements in a competition or in their
cumulative career.
 Awards can come in the form of trophies, medals,
certificates or cash.
 Grants are given to performing artists to aid them
in developing their craft. Grants can come from
both public and private, individuals and institutions.
 AWARDS AND GRANTS
 Grants are often given to finance different aspects in the
production of a performance. It can also come in the form
of study grants that give financial support for research,
studies and other academic pursuits related to their craft.
Travel grants serve to augment the expenses in touring and
performing outside their regular venue.
 In addition to this aspect, there are also commissions.
Commissions are financial compensations given to
performing artists to create a song, a dance or a play.
Compared to dance and theater, commissioned works are
more common in music, wherein composers would be asked
to write a song or a jungle to be used in a commercial or a
show.
 CRITICISM
 Criticism in the performing arts pertains to
the evaluation and examination of the
creation, expression and meaning of the
particular piece or performance. The one
who reviews and appraises the performance
is called a critic. A critic will review the
different aspects of a performance and gives
his/her insights and evaluation.
 CRITICISM
 Critics would often publish their appraisal in
different media such as newspapers, magazines,
journals, websites and blogs.
 Although almost anybody could call themselves
critics, the most credible ones are those who
have been trained or have a background with the
particular performing art that they are reviewing.
 ORGANIZATIONS
 Performing Art Organizations are formal or informal
groupings of artists and/or enthusiasts created in order
to support and appreciate their chosen craft.
 Informal groupings can be seen with the ethnic groups
where they come together for one occasion such as a
fiesta or a wedding.
 Formal organizations are more permanent and stable.
Formal organizations have clear cut division of
responsibilities and a hierarchy or roles such as
chairmanship, members, etc. They follow written by-
law produced and enacted by the members themselves.
 ORGANIZATIONS
 Organizations can be also categorized according to
their base of operations. It can be a school-based
organization, which means it started and is
organized by a school. As such, its members are
students of the school. Example of school-based
performing art organizations are the UP Madrigal
Singers, the Dagyaw Theater Dance and Company
in Iloilo, and the Integrated Performing Arts Guild
of the Mindanao State University in Iligan.
 ORGANIZATIONS
 Community-based organizations are performing art
groups that serve the community, these are less formal
and often have volunteer performers. They are usually
financed by the wealthy families of the community and
the local government.
 Professional organizations have members from all
over the country. These groups often have the creme
de la creme of the performing artists as they are given
salaries and are employed and trained full-time.
Example of such organizations are the CCP
Tanghalang Pilipino, the Repertory Philippines and the
now disbanded San Miguel Philharmonic Orchestra.
 ORGANIZATIONS
 Organizations may be composed of members of a
specialized aspect or filed of the art. Specialized
organizations are focused on one commonality such as the
Manila Chamber Music Society which specializes in
chamber music, or the PSME or the Philippine Society for
Music Education which is an organization for music
teachers, educator, etc.
 Performing art organizations are an integral part of the
performing arts. It is an avenue to bond and share. It is a
support system to protect the artist’s rights and promote
advocacies that unite them. Here are other examples of
performing art organizations that cater to the protection of
the rights of the artist.
 ORGANIZATIONS
 FILSCAP, or the Filipino Society of Composers, Authors
and Publishers is group whose membership includes
composers, lyric-writers and music publishers that seek to
protect the artists’ work from copyright infringements.
 The other is the Performing Rights Society of the
Philippines (PRSP). PRSP is a collection of other
performing organizations such as Organisasyon ng
Pilipnong Mang-Aawit (OPM); Philippine Legitimate
Stage Artists Group (PHILSTAGE), which is an
organization for theater, dance and music companies; and
Asosasyon ng Musikong Pilipino (AMP), which organizes
the works of the performing artists used in commercial
broadcast or other communications to be public.
 EDUCATION
 Education in the performing arts is concerned with
the transfer of knowledge, the techniques and
styles. As with the visual arts, it can be transferred
through informal settings or formal backdrops such
as the classroom.
 This aspect of production is one of the most
significant since it deals with the continuing
survival and promulgation of the art, through the
transfer of the knowledge, skills and technique to
the next generation.
 EDUCATION
 Informal education is often the type of education
seen in the ethnic groups.
 Music and the other performing arts are taught to
the youth through “oral transmission” and
demonstration.
 Books and other materials are not needed since the
different songs, dance and rituals are ingrained in
their everyday lives.
 The students learn their community’s performing
arts organically. They learn the art through constant
exposure, application and practice.
 EDUCATION

 In the formal education, performing arts are

included in the curriculum of the students.
 The performing arts are learn through teacher-led
instruction in the classroom.
 Teaching standards are set per grade level.
 The students learn art appreciation, art history and
learn and apply different styles and techniques.
 Content difficulty starts with the basic and spirals to
more complex subjects and themes as students
progress through school
 ACTIVITY 1
Aspects of Production for Performing Arts
 Based on the discussed aspects of production in the performing
arts, use your community as your basis to answer the questions
or tasks below.
1. What are the most popular venues for performing arts
in your community?
2. What are some plays, dances or concerts staged in the
said venue?
3. What are the most popular performing art organizations
in your community?
4. Choose one of the plays, dances or concerts you have
watched and create a critique/review on the said
performance.
 PARTICULAR
ASPECTS OF
PRODUCTION TO A
PERFORMING ART
 Some aspects of productions are unique to a particular
form of performing art, such as:
 MUSIC
› Composition
› Recording
› Music Industry
 DANCE
› Choreography
› Design
 THEATER
› Acting and Directing
› Script
› Set, Costume and Lighting
› Translation and Adaptation
 MUSIC
 COMPOSITION

 RECORDING

 MUSIC INDUSTRY
 COMPOSITION
 Composition is the artistic process in the creation
of music. It is traditionally referred to as the
practice of creating a notated score and its
completion through the interpretation by music
artists.
 The artist and composer can be the same person.
According to Arnold Schoenberg, a renowned
Austrian composer, there are three basic step in
music composition.
 COMPOSITION
 They are the basic ideas, which often the source of
inspiration that is drawn upon a story, an emotion, or an
image.
 This inspiration is transferred to musical material in
which the music components such as the scale and
mode are used.
 And finally its progression to a musical form through
the creation of a theme or motif.
 This is a thoroughly Western concept that was brought
by the Spaniards and has since been adapted in the
local industry.
 COMPOSITION
 Popular and notable contemporary Filipino composers
include Ryan Cayabyab, Jose Mari Chan, Lito Camo,
Ely Buendia, Gary Valenciano and Ogie Alcasid.
 Traditional ethnic music is heavily improvised and
spontaneous such that the music is not written on the
score sheet but rather the creative process is seen
through the ability of the performers to innovate and
invent according to the existing style and rules in their
community’s music tradition.
 RECORDING
 Recording is the process of creating multiple
copies of music to be distributed to the public.

 Professional recording entails the following

steps: first of which is called preproduction.
 Preproduction is the process in which
producers and their people would decide upon
a concept or music performance.
 RECORDING
 Second is the production phase wherein the
actual music is created.
 This is where musical arrangements are made,
rehearsals, the actual performance, recording,
editing and mixing are done.
 The last is the postproduction which is
devoted to the promotion, marketing and
selling of the finished product.
 MUSIC INDUSTRY
 Music industry is the business of selling recorded
music.
 This is collaborative work that entails different
personalities such as the producer, the singer or
sometimes called the recording artist, the composer,
the arranger, the recording company, managers,
musicians, technicians, record duplicators, disc
jockeys and the sales team.
 Sometimes multiple roles can be engaged in by a
single person.
 MUSIC INDUSTRY
 The influence of the music industry to the
development of today’s Filipino music is undeniable.
 Music is a popular form of entertainment and has
been a very lucrative business.
 Many recording companies can influence fads and
trends through the use of various marketing
strategies.
 Recording companies can choose which recording
artist would be given exposure, often taking into
consideration the marketability of the artists and the
song rather than its artistic merits.
 MUSIC INDUSTRY
 They can sway the tastes and preferences of the
people to the type of music they listen to,
especially pop music.
 They can increase the popularity of the song or
recording artists through various methods such
as increase of radio or television play,
integration with a television series as a
soundtrack, creation of music videos sharing
sites such as YouTube and the like.
 MUSIC INDUSTRY
 The biggest problem the music industry faces
is music piracy. With the ease of creating
copies of music, many people get their music
from pirated or illegal sources that result in a
big loss of income to the recording
companies.
 Income that would have gone to investments
in the development of their talents or in the
search of new ones.
 MUSIC INDUSTRY
 And with the dwindling profits, recording
companies are more careful in producing
albums and music.
 Most of the time they would rather produce
music with the established archetypes and
sure sellers rather than take a risk with new
artists and experimental music.
 ACTIVITY 2
Adverse Effects of Piracy
 Other than the one mentioned, what other
negative effects does piracy have on the
music industry?
 Research on the adverse effects of piracy
on the music industry, list down the ones
you found out and be ready to share your
findings with the class.
 DANCE
 CHOREOGRAPHY

 DESIGN
 CHOREOGRAPHY
 Choreography is a part of dance that arranges and
manipulates movements, formations, words, music,
sets, props, lights and dancers to express an idea or
narration.
 This definition of composed dance can be applied to
the rituals dances made by the cultural ethnic groups.
 Indigenous groups have traditionally invented and
taught dance as a community, passing the forms and
movements from one generation to another.
 CHOREOGRAPHY
 Though many of the indigenous dances appear to be
improvisational, some are expected to follow a set of
movements and wear appropriate costumes and
props.
 Examples of these ritual dances are the Tinguian’s
gabbok, which is a dance to pray for a child’s well-
being and the Tagbanua’s pagdidiwata, which is a
dance to implore the spirits for an abundant harvest.
 CHOREOGRAPHY
 A substantial part of choreography are dance
steps.
 Dance steps are combinations of human actions
and movements such as walking, sliding,
running, leaping, hopping, skipping and jumping.
 These controlled body movements can be
original or be adapted from traditional
indigenous movements and Western influences.
 CHOREOGRAPHY
 In local regional traditions, dance steps are
distinct and diverse from region to region.
 In contemporary times, modern dance is
closely similar with the dance forms
popular in the West.
 DESIGN
 Design for dance are the visual materials
used to suggest, allude symbolisms and
illusions.
 These materials include sets, props,
costumes, and lighting.
 Sets are backgrounds that are sometimes
constructed or painted.
 DESIGN
 The props and costumes help identify
characters and events and enhance the
movements on stage.
 Lighting provides appropriate mood
or a sense of time.
 THEATER
 ACTING AND DIRECTING
 SCRIPT
 SETS, COSTUMES AND
LIGHTING
 TRANSLATION AND
ADAPTATION
 ACTING AND DIRECTING
 Acting is the art of embodying a character. It is one of
the most basic elements in theater.
 Acting in indigenous theater is seen in rituals and
dances. Indigenous theater acting can be seen in their
representation and mimicry of animals and daily work.
 In the contemporary stage, acting has been heavily
influenced by Western styles of acting such as the
Stanislavsky method which is described as
understanding the true quality of each emotion through
one’s observation.
 ACTING AND DIRECTING
 Another acting style is Strasberg’s method
acting, which is described as being the character
in and outside the stage, as well as the
Brechtian school of acting, which portrayed the
characters in a critical manner rather than in its
emotional state.
 ACTING AND DIRECTING
 Directing is the complete supervision and
management of all the different elements in
theater production.
 This includes the approval and coordination
with all the aspects of a production such as
acting, design of the sets, costumes,
lighting and sound.
 ACTING AND DIRECTING
 The person responsible for the final artistic
outcome of the theater production is called
the director.
 The director is the one who interprets the
dramatic text for the viewers.
 From the director’s interpretation or
directorial vision will all the other concepts of
the production branch out.
 SCRIPT
 Script or the play script is the literal
transcription of the play. It includes stage
directions, production notes and cast list.
 The person who writes scripts for play are
called playwrights.
 A playwright’s work can go to several
modifications and revisions as the production
of the play progresses.
 SCRIPT
 These modifications or changes can be due to
budget constraints or directorial decisions.
 In the indigenous theater, rituals do not have a
written scripts, however they do have
established routines and procedures.
 SETS, COSTUME AND
LIGHTING
 Sets refer to the scenes and props for the
physical representation of the setting,
period and time.
 Depending on the interpretation of the play,
sets can be very minimal or it can be very
elaborate.
 SETS, COSTUME AND
 LIGHTING
Costume as a theatrical production aspect deals with
the distinct attire a character wears during the
performance.
 The style and design of the costume is a visual aid to
the setting and environment the play is staged in, as
well as offering insights to the characters’ traits.
 Costumes can also be seen in indigenous theaters,
where performers wear special costumes that are
appropriate for the event or occasion.
 SETS, COSTUME AND
LIGHTING
 Lighting is the use of light in a theater
production. Similar with that mentioned in the
aspect of dance, it is used to illuminate the stage,
create ambiance and mood and highlight and
exaggerate a character’s movement.
 Stage lighting can be achieved through the use
of footlights, spotlights, overhead illuminations,
etc.
 TRANSLATION AND
ADAPTATION
 Another aspect of theater production are
translation and adaptation.
 Translation is the conversion of a foreign
play to the vernacular, while
 Adaptation is the reinterpretation of the play
according to local cultures and traditions to
make it more relatable to the audience.
 ACTIVITY 3
Short Story Adaptation
 Choose a foreign short story or fairy tale
and adapt the story to reflect local culture
and traditions.
 REVIEW
 Audience is the viewers of the performance.
 Space refers to the venue where the performance
is staged.
 Awards are rewards given to artists for their
outstanding performance or achievement.
 Grants are given as financial aid in the
production of the different aspects of a
performance.
 REVIEW
 Criticism pertains to the evaluation and examination
of the creation, expression and meaning of the
particular piece or performance.
 Organizations are formal or informal groupings of
artists and/or enthusiasts in order to support and
appreciate their chosen craft.
 Education in the performing arts is concerned with
the transfer of knowledge, techniques and styles
 UNIT 4
Test

A. Choose the best answer.

1. This is given to artists to recognize a single achievement
or the career as a whole.
2. This is the evaluation and examination of an artwork
based on its artistic merits and historical and cultural
importance.
3. This is the orderly organization and study of art,
whether it is the actual artwork itself, the artists or its
art form.
4. This is the transfer of knowledge, skills and art
appreciation from a teacher to a student that can be
done in both formal and informal settings.
5. This is the visual art component that pertains to the
materials an artist uses for his/her artwork.
6. It is the Philippine counterpart of the Asian Cultural
Council which hopes to increase opportunities for
Filipino artists.
7. This art organization was started by Purita Kalaw
Ledesma and has become one of the leading visual
art organization in the country.
8. This pertains to the commission or purchase of an
artwork.
9. These are given to artists to aid them to develop
their craft or sometimes used to finance different
aspects in the production of a performance.
10. These are financial compensations given to artists
to create an artwork.
11. It is traditionally referred to the practice of
creating a notated score and its completion through
the interpretation by music artists.
12. This is the process of creating multiple copies of
music distributed to the public.
13. This is the business of selling recorded music.
14. This is a part of dance that arranges ad
manipulates movements, formations, words, music,
sets, props, lights and dancers to express an idea or
narration.
15. This is the aspect of production in the performing
arts that deals with visual materials such as sets,
props, costumes and lights.
16. This is the complete supervision and management
of the different elements in theater production.
17. This is the literal translation of a play or drama.
18. This is a theatrical production aspect that deals
with the distinct attire a character wears during the
performance.
19. This is the conversion of a foreign play to the
vernacular.
20. This is the reinterpretation of the play to make it
more relatable to the audience.
B. In the past few weeks, your journey of learning
showed you the different contemporary art forms
as well as the notable contemporary Filipino
artists. In this unit, you were revealed the
different aspects of production that entailed in the
creation of art.
This task will be the culmination of everything
you have learned in the past and is a glimpse of
your future as Filipino contemporary artist. You
will create or perform your art.
 The common theme to be used as a jumping-off point is
“Social Injustice in the Philippines.” The topic is a
serious one and is often a subject interpreted by
contemporary artists. It is a subject many artists feel
can hep create awareness and positive change in the
society.
 Choose from the different art disciplines in expressing
the theme. It can be a painting, sculpture, song,
dance, play, installation, etc. This can be also done as
a collaborative work between artists or across art
disciplines.
 You will be given time to conceptualize, prepare and
produce your piece. It will be shown and exhibited as
a class art fair.