Contemporary Arts From The Regions - Teacher Guide - Final

Page(s) #
Meet the Writers 1

Acknowledgement 5
Dedications 6
Introduction 7
Instructional Plans 8
First Quarter Session(s)
1. Various Contemporary Art Forms and Practices from
1–2 9 – 24
Different Regions
2. Integrated Arts as Applied to Contemporary Art Forms as
3–4 25 – 36
seen in Modern Times.
3. The Significant Roles of Artists from The Regions 5 37 – 46
4. Significant Contemporary artists from the regions 6–7 47 – 59
5. National Artists in the Field of Music 8–9 60 – 69
6. National Artists in the field of Dance and Theater 10 – 11 70 – 78
7. National Artists in the field of Visual Arts 12 – 13 79 – 88
8. National Artists in the field of Literature 14 – 15 89 – 98
9. National Artists in the field of Film 16 99 – 106
10. National Artists in the field of Architecture 17 107 – 119
11. Evaluating Art Forms Based on Elements and Principles 18 120 – 132
12. Folk Architecture 19 133 – 143

13. Interpretation of Art Form 20 – 21 144 – 160
14. Promoting Artworks through a Flyer 22 161 – 167
15. Different Contemporary Art Techniques and Performance
23 168 – 177
Practices
Second Quarter Session(s)
16. Local Materials Applied to Contemporary Arts 24 178 – 187
17. Critique Traditional Techniques Applied to Contemporary
25 188 – 197
Creation
18. Justifying Traditional Techniques Applied to Contemporary
26 198 – 204
Creation
19. Contemporary Art Production in Negros Oriental Province 27 - 28 205 – 215
20. Application of Artistic Skills and Techniques 29 216 – 231

21. Creating the Final Output 30 232 – 242
MEET THE WRITERS
Born: Jimalalud, Negros Oriental
Birth: July 11, 1972
Address: Jimalalud, Negros Oriental
Email Address: [email protected]
Spouse: Irving Patoc Callao
Geraldine Z. Callao
Mrs. Callao is a Senior High School teacher at Budlasan National High School, Canlaon
City, Negros Oriental. She is a graduate of Bachelor of Arts major in History, minor in Political
Science at Silliman University.
Born: Paniabonan, Mabinay, Negros Oriental
Birth: April 7, 1993
Address: Paniabonan, Mabinay, Negros Oriental
Spouse: Rujonel F. Cariaga
Verna Blanca Cariaga
Proud to be in the noble profession-teaching, Mrs. Cariaga teaches Senior High School at
Mabinay National High School, Mabinay, Negros Oriental. She finished Bachelor of Secondary
Education major in Social Science at NORSU Dumaguete City campus and is currently pursuing
her MA in Education at Central Philippines State University, Kabankalan City, Negros Occidental
campus.
Page 1
MEET THE WRITERS
Born: Jantianon, Amlan, Negros Oriental
Birth: June 27, 1985
Address: Jantianon, Amlan, Negros Oriental
Spouse: Darren E. Catacutan
Jeselle I. Catacutan
Being inspired with the love of her family, Mrs. Catacutan is 10 years in the field of teaching.
She is connected at Manjuyod National High School-Senior High School Department. She is an
alumna of NORSU-Dumaguete City campus where she completed Bachelor of Arts in Social
Science. Her 36 units in Education was earned at Foundation University and 30 units in MA
History at NORSU.
Born: Zamboanguita, Negros Oriental
Birth: September 20, 1972
Address: Poblacion, Sta. Catalina, Negros Oriental
Spouse: Edsel Isabelo C. Edrial Jr.
Ellen Elopre Edrial, Ed.D.
Moved with passion in teaching, she is on her 26 years with the Department of Education.
She teaches English and serves as the Senior High School Coordinator at Sta. Catalina National
High School. She graduated Bachelor of Secondary Education major in English at Silliman
University. Both her MA in Education and Doctor of Education were completed at Foundation
University.
Page 2
MEET THE WRITERS
Born: Tinaogan, Bindoy, Negros Oriental
Birth: December 31, 1967
Address: South Poblacion, Jimalalud, Negros Oriental
Spouse: Aponigon B. Euraoba
Josephine E. Euraoba
Mrs. Euraoba is teaching Senior High School at Jimalalud National High School. She finished
the degree Bachelor in Secondary Education at NORSU Siaton campus and earned MAED-
CAR at NORSU Bayawan City. She is an Outstanding Jimalaludnon, an award given by the
Civil Service Commission.
Born: Amlan, Negros Oriental
Birth: November 5, 1990
Address: Lumapao, Canlaon City, Negros Oriental
Chinie Mae R. Torres
Ms Chinie is with Jose B. Cardenas Memorial High School-Main Campus-Senior High

School Department. She graduated Bachelor of Science in Hospitality Management at NORSU
Dumaguete City and received Presidential Academic Award. She earned her Education units at
St. Joseph College Incorporated.
Page 3
MEET THE WRITERS
Born: Manila City, Luzon
Birth: March 7, 1988
Address: Dumaguete City, Negros Oriental
John Audi P. Bato
Mr. Bato finished his degree in Bachelor of Science in Computer Science at Foundation
University. He earned 37 units in Master in Information System at Silliman University. He obtained
the Certificate in Professional Teacher Education at La Consolacion College in Bais City. He
started his teaching career at Foundation University in 2011 under the College of Computer
Studies. In 2018, he joined DepEd and is currently teaching ICT in Senior High at Sta. Catalina
National High School.
Born: Tayasan, Negros Oriental
Birth: July 30, 1976
Address: Tayasan, Negros Oriental
Spouse: Jean G. Fabugais
Dacon G. Fabugais
Mr. Fabugais teaches at Ayungon National High School. He is a graduate of Bachelor of

Arts in History at Silliman University. He obtained the Certificate in Professional Education and
completed MA in Teaching Social Studies at Cebu Technological University. Cebu City.
Page 4
ACKNOWLEDGMENT
This idea is born because of Dr. Renante A. Juanillo, the Senior High School
coordinator. He has fueled the teacher-writers to make all these possible.
Despite the hectic schedule of everyone, no one quits. Everyone shares to
make the finest of it. Somewhat impossible at first considering the works in school,
at home and other concerns; nevertheless, with the grace of Jesus, everything goes
well.
The amazing people, friends, co-writers and most of all family members give
a great dose of encouragement. Choosing to be joyful and optimistic has enliven the
tedious work until its completion.
Together with the mother of the Division of Negros Oriental, Dr. Wilfreda D.
Bonggalos and the full support of Dr. Faye C. Luares, Dr. Nilita L. Ragay, Dr. Erlinda N.
Calumpang and Dr. Rachel B. Picardal, this piece of work has come to a reality.
The teacher-writers are blessed enough to be a blessing to other teachers
who are the end users of this teaching material, as this will help lessen their work. It
is indeed very rewarding thinking that we are part of the simple yet significant
success of the Division of Negros Oriental.
To God be the glory!
- THE WRITERS
Page 5
Page 6
Page 7
Instructional
Plans
Page 8
Grade: 11 Subject: Contemporary Philippine Arts for the Region
Semester: First Sessions No.: 1 and 2 Date:

I. OBJECTIVES
Content Standard The learner demonstrates:
Appreciation of contemporary art forms found in the various
regions by understanding the elements and principles.
Performance The learner:
Standard Presents a form of integrated contemporary art based on the
region of his/ her choice.
Learning Identifies various contemporary art forms and their practices
Competencies from the various region.
CAR11/12IAC-Oa-1
Knowledge Identify various contemporary art forms and their
characteristics
Skills Explain the various contemporary art forms and their
practices from the different regions
Attitude Demonstrate cooperation in group activity
II. CONTENT 1. Various contemporary art forms
2. Practices of the contemporary art forms from different
regions
III. LEARNING RESOURCES
References Contemporary Philippine Arts from the Regions pp. 17-24
Other Learning 1. https://www.slideshare.net
resources 2. PowerPoint presentation
IV. PROCEDURES
A. Preparation How various form of arts reflect the people of today?
B. Motivational Look around you. What are the things that you think are art?
Question
C. Activity Activity 1 – Make me!
1. Divide the students into groups of 5. Ask them to
collect objects inside the classroom and instruct them
to create a wonderful artwork trying to capture the
Filipino way of life.
2. Let them explain their artwork.
D. Analysis 1. How do you find the activity?
2. What are some problems you encountered during the
activity?
3. What is your common observation while doing the
activity?
E. Abstraction ACTIVITY 2 – TO DISCUSS THE CONCEPT
Using a power point presentation, discussion of the following
will be done:
• Various contemporary art forms
Page 9
• Their characteristics
• Practices of contemporary art forms from the regions
• Various contemporary art forms:
1. Architecture
2. Literature
3. Music
4. Visual Arts
5. Theater
6. Film
7. Dance
• Characteristics of Contemporary Arts
1. New or up-to-date (which is why they are
called contemporary)
2. Reflection of current issues or current events
3. It could sometimes break the rules of
traditional art
4. Created by modern humans
5. It could be a public mood
6. It could be an effect of being resourceful of the
artist
• Practices of contemporary art form from the region

1. Local materials used as applied to
contemporary art
2. Traditional techniques applied to
contemporary creation
• Example Practices of contemporary art forms from the

regions
Bacong, Negros Oriental. Beautiful stone craft. Their stone
craft designs and workmanship are excellent. A good place
to look for souvenirs and art works. Their products last a
lifetime.
Someone will show you how their products are made. You'll
be amazed how they do it manually. Most of the workers
here are women. In their store, you'll see different finished
products and it's worth buying some of them.
Page 10
Figure 1 Negros Oriental Arts and Heritage
F. Application Activity 3 – To Apply the Concept

Each group will be given a contemporary art form for them to
discuss.
• Group 1 – Architecture (Sidlakan Negros Village)
• Group 2 – Literature (Darna)
• Group 3 – Music (Buwan)
• Group 4 – Visual Arts (3d Art House)
• Group 5 – Theater (Sunday Pinasaya)
Group 6 – Film (Ang Probinsyano)
Group 7 – Dance (Budots)
Follow this format:

1. Name of Artwork:
____________________
2. What makes this art contemporary?
____________________
3. How does this artwork reflect the people of today?
____________________
Page 11
Attachment:
Figure 2 Literature
Figure 3 Architecture
Page 12
Figure 4 Visual Arts
Figure 5. Theater
Page 13
Figure 6 - Music (Modern OPM)
Figure 7 - Filipino Film
Page 14
G. Practical Activity 4 – Additional Activity
Applications • For Academic Track:
of Concepts
and Skills in Suppose you are joining Google’s essay writing contest and you
Daily Living need to write a 300-word essay on the topic: “How the camera
phone changed photography.” The essay will be judged by
Internet bloggers around the world. You need to be highly
persuasive and descriptive in your text.
• For TVL
You are artist entrepreneur and you would like to incorporate

contemporary art in your business. Think of innovative ways to
incorporate contemporary art in your business. Write a business
that describes how the use of contemporary art will help your
business.
Source: Contemporary Philippine Arts from the Regions p. 15.

H. Generalization Contemporary art refers to all artworks created by artists
that are living and are very representative of our times.
contemporary artists try to capture modern-day realities. Art
in contemporary times has evolved into being appropriated
into another artwork, performed with a deeper
understanding of life, created using varied resources and
propagated with technology.
I. Evaluation Activity 5 - Additional Activity
For TVL – presentation of their business plan
For Academic Strand – Submission of their essay in hard copy
Pls. see attached rubrics
Page 15
J. Additional ACTIVITY 6 - EXTEND YOUR KNOWLEDGE
activities for
application or Visit the following websites to learn more information on
remediation contemporary art.
(assignment)
1. Massey, Josephine. “Art school panels highlight
issues in contemporary art.” Yale Daily News, 25
February 2013.
http://yaledailynews.com/blog/2013/02/25/art-school-
panels-highlight-issues-in-contemporary-art/
2. Contemporary Art Philippines.

http://www.contemporaryartphilippines.com/
V. REMARKS
VI. REFLECTION
No. of learners who

earned 80% in the
evaluation
No. of learners who
continue to require
remediation
Did the remedial
lesson work? No. of
learners who have
caught up the lesson
Page 16
No. of learners who
continue to require
remediation
Which of my teaching
strategies worked
well? Why did these
work?
What difficulties did I
encounter which
principal and
supervisor can help
or solve?
What innovation or
localized did I
use/discover which I
wish to share
Page 17
FIRST SEMESTER
FIRST QUARTER
Sessions 1 - 2
Topic: Various Contemporary Art Forms and Practices Of The Contemporary Art
Forms From Different Regions
How various form of arts reflect the people of today?
Look around you. What are the things that you think are art?
ACTIVITY 1: MAKE ME!

Divide the students into groups of 5. Ask them to collect objects inside
the classroom and instruct them to create a wonderful artwork trying to
capture the Filipino way of life.
Let them explain their artwork.
1. How do you find the activity?

2. What are some problems you encountered during the activity?
3. What is your common observation while doing the activity?
Page 18
ACTIVITY 2 – TO DISCUSS THE CONCEPT
Using a power point presentation, discussion of the following will be done:
• Various contemporary art forms
• Their characteristics
• Practices of contemporary art forms from the regions
• Various contemporary art forms:

1. Architecture
2. Literature
3. Music
4. Visual Arts
5. Theater
6. Film
7. Dance
• Characteristics of Contemporary Arts

1. New or up-to-date (which is why they are called contemporary)
2. Reflection of current issues or current events
3. It could sometimes break the rules of traditional art
4. Created by modern humans
5. It could be a public mood
6. It could be an effect of being resourceful of the artist
• Practices of contemporary art form from the region

1. Local materials used as applied to contemporary art
2. Traditional techniques applied to contemporary creation
• Example Practices of contemporary art forms from the regions
Bacong, Negros Oriental.
Beautiful stone craft. Their stone craft designs and workmanship are
excellent. A good place to look for souvenirs and art works. Their products
last a lifetime.
Someone will show you how their products are made. You'll be amazed
how they do it manually. Most of the workers here are women. In their
Page 19
store, you'll see different finished products and it's worth buying some of
them.
Figure 1 Negros Oriental Arts and Heritage
Activity 3 – To Apply the Concept

Each group will be given a contemporary art form for them to discuss.
• Group 1 – Architecture (Sidlakan Negros Village)
• Group 2 – Literature (Darna)
• Group 3 – Music (Buwan)
• Group 4 – Visual Arts (3d Art House)
• Group 5 – Theater (Sunday Pinasaya)
Group 6 – Film (Ang Probinsyano)
Group 7 – Dance (Budots)
Follow this format:
1. Name of Artwork:
____________________
2. What makes this art contemporary?
____________________
3. How does this artwork reflect the people of today?

____________________
Page 20
Attachments
Figure 2 - Literature
Figure 3 - Architecture
Page 21
Figure 4 - Theater
Figure 6 - Theater
Figure 5 - Music (Modern OPM)
Page 22
PRACTICAL APPLICATIONS OF CONCEPTS AND SKILLS IN
DAILY LIVING
Activity 4 – Additional Activity
• For Academic Track:
Suppose you are joining Google’s essay writing contest and you need to
write a 300-word essay on the topic: “How the camera phone changed
photography.” The essay will be judged by Internet bloggers around the
world. You need to be highly persuasive and descriptive in your text.
• For TVL
You are artist entrepreneur and you would like to incorporate

contemporary art in your business. Think of innovative ways to
incorporate contemporary art in your business. Write a business that
describes how the use of contemporary art will help your business.
Source: Contemporary Philippine Arts from the Regions p. 15.

.
Contemporary art refers to all artworks created by artists that are living and
are very representative of our times. contemporary artists try to capture
modern-day realities. Art in contemporary times has evolved into being
appropriated into another artwork, performed with a deeper understanding of
life, created using varied resources and propagated with technology.
Page 23
ACTIVITY 5 - ADDITIONAL ACTIVITY
• For TVL – presentation of their business plan
• For Academic Strand – Submission of their essay in hard copy
Please see attached rubrics:
ACTIVITY 6 - EXTEND YOUR KNOWLEDGE
Visit the following websites to learn more information on contemporary art.
1. Massey, Josephine. “Art school panels highlight issues in

contemporary art.” Yale Daily News, 25 February 2013.
• http://yaledailynews.com/blog/2013/02/25/art-school-panels-
highlight-issues-in-contemporary-art/
2. Contemporary Art Philippines.

• http://www.contemporaryartphilippines.com/
Page 24
Grade: 11 Subject: Contemporary Philippine Arts for the
Region
I. OBJECTIVES
Appreciation of contemporary art forms found in the
various regions by understanding the elements and
principles.
Performance Standard The learner:
Presents a form of integrated contemporary art based
on the region of his/ her choice.
Learning Competencies Classifies various art forms found in the Philippines.
CAR11/12IAC-Ob-1
Knowledge Recall the various art forms found in the Philippines.
Skills Classify various art forms in the Philippines.
Attitude Demonstrate cooperation in writing a song to express
appreciation of the contemporary Philippine art forms.
II. CONTENT 1. Recall of various contemporary art forms
2. Known examples of art forms in the
Philippines and the region where they come
from.
References Contemporary Philippine Arts from the Regions pp.
38-41
(Diwa)
Other Learning resources
IV. PROCEDURES
A. Preparation Let’s see how well do you know regarding the various
art forms and what region they come from.
B. Motivational Question How do you show/express appreciation of
contemporary Philippine arts?
C. Activity Activity 1 – Make me!
Jumbled Letter Challenge
Instruction: Work with a pair and rearrange the
letters to form the mystery words.
1. CANED Ans: DANCE
2. IMCSU Ans: MUSIC
3. MLIF Ans: Film
4. CETIHCRAERUT Ans: Architecture
5. EERAHTT Ans: Theater
6. RELIUTTEAR Ans: Literature
7. STRALAUSIV Ans: Visual Arts
D. Analysis 1. What are the formed words?
Page 25
2. What do you call them?
3. Was it easy for you to form the words? Why?
•Quick recall of the various art forms
•The teacher asks the class known examples of
various art forms in the Philippines and state
what region they come from.
• Examples:
(Pls see attachment)
• The teacher writes a table on the board.
Dance Music Film Architecture Theater Literature Visual
Arts
• Using meta cards with examples of

contemporary arts, students will classify
where each belongs.
1. Botong Francisco’s blood compact which hailed
him as muralist of our country.
Ans: VISUAL ARTS
2. The play, “Tanikalang Ginto” by Juan Abad in
1902. Ans: THEATER
3. First Filipino play, “A Modern Filipina” by Lino
Castillejo and Jesusa Araullo in 1915.
Ans: THEATER
4. Burnham Park in Baguio. Ans: ARCHITECTURE
5. The “Grand Old man of Philippine Art” by
Fernando Amorsolo. Ans: VISUAL ARTS
6. Sylvia La Torre as Reyna Ng Kundiman, “Sa
Kabukiran.” Ans: MUSIC
7. The “Banga” shows the grace and strength of
women in Kalinga Apayao tribe. Ans: DANCE
8. “Kappa Malong Malong” is a traditionally
Maranaw . Ans: DANCE
9. San Agustin Monastery which contains a wide
collection of catholic religious items.
Ans : ARCHITECTURE
10. Spolarium by Juan Luna Ans: VISUAL ARTS
11. Komiks Ans: Literature
12. Cinemas Ans: FILM
13. Rondalla Ans: MUSIC
14. Kundiman Ans : MUSIC
Page 26
15. OPM Ans: MUSIC
G. Practical Applications of Activity 4 – Additional Activity

Concepts and Skills in • In pairs…think of what are the commomnalities
Daily Living of Philippine Arts. Then, think of how all these
reflect Filipino life.
H. Generalization Many people fail to realize how ART IMPACTS OUR

DAILY LIFE. Majority don’t know how much of a role
art plays in our lives and just how much we rely on art
in all of its forms. It is but right that we know the
various contemporary art forms and be able to
appreciate our being a Filipino.
In groups of 5, write a song to express appreciation of the
contemporary Philippine art forms. They can use the
vernacular for the lyrics of the song to be more enjoyable.
J. Additional activities for ACTIVITY 6 - EXTEND YOUR KNOWLEDGE

application or
remediation Presentation of their songs made.
(assignment)
V. REMARKS
VI. REFLECTION
No. of learners who earned

80% in the evaluation
No. of learners who continue to
require remediation
Did the remedial lesson work?
No. of learners who have
require remediation
strategies worked well? Why
did these work?
What difficulties did I encounter
which principal and supervisor
can help or solve?
What innovation or localized
did I use/discover which I wish
to share
Page 27
FIRST SEMESTER
FIRST QUARTER
Session 3 – 4
Topic: Integrated Arts as Applied to Contemporary Art Forms as seen in Modern
Times.
Let’s see how well you know the various art forms and what region
they come from.
How do you show/express appreciation of contemporary Philippine

arts?
ACTIVITY 1 - “JUMBLED LETTER CHALLENGE”

Work with a pair and rearrange the letters to form the mystery words
1. C A N E D = Dance
2. I M C S U = Music
3. M L I F = Film
4. C E T I H C R A E R U T = Architecture
5. E E R A H T T= Theater
6. R E L I U T T E A R = Literature
7. S T R A L A U S I V = Visual Arts
1. What are the formed words?

2. What do you call them?
3. Was it easy for you to form the words? Why?
Page 28
• Quick recall of the various art forms
• The teacher asks the class known examples of various art
forms in the Philippines and state what region they come from.
• Examples:
(Pls see attachment)
The teacher writes a table on the board with 7 columns. The heading
of the column will be Dance, Music, Film, Architecture, Theater,
Literature and Visual Arts.
.
Using the Meta cards with examples of contemporary arts, students
will classify where each
belongs.
(NOTE: The following will be written in the meta cards to be flashed by
the teacher)
1. Botong Franciscos Blood Compact which hailed him as the

greatest muralist of our country. (VISUAL ARTS)
2. The play” Tanikalang Ginto” by Juan Abad in 1902. (THEATER)
3. First filipino play, A Modern Filipina” by Lino Castillejo and Jesusa
Araullo in 1915. (THEATER)
4. Burnham Park in Baguio. (ARCHITECTURE )
5. The “ Grand Old Man of Philippine Art, Fernando Amorsolo.
(VISUAL ARTS)
6. Sylvia La Torre as Reyna Ng Kundiman “Kabukiran”. (MUSIC)
7. The “Banga” shows the grace and strength of women in Kalinga
Apayao tribe in a traditional. (MARANAO DANCE)
8. “ Kappa Malong Malong is a traditional. (Maranaw dance)
9. San Agustine Monastery which contains a wide collections of
catholic religious items. (ARCHETICTURE)
10. Spoliarium by Juan Luna. (VISUAL ARTS)
11. Komiks (Literature)
12. Cinemas (Film)
13. Rondalla (Music)
14. Kundiman (Music)
15. OPM (Music)
Page 29
ACTIVITY 2 – “PRACTICAL APPLICATIONS”
As a designer, an inspiring
TRACK:DESIGN
Contemporary Artists:
create an artwork in any form that you feel is tune with the current
situation of Philippine society. Be guided by the definition and
description of Philippine contemporary art. A group of
contemporary artists will evaluate your work so that it will become
part of their exhibit.
TRACK: ACADEMIC
As a writer:
come up 500-word easy expressing your opinion on Dr. Patrick
Flores Description of Philippine contemporary art. The feeling is
that all is possible in the Contemporary art. The feeling is that all is
possible in the contemporary conceived as a constantly extending
and deepening constellation of art. Your article will be published in
the arts section of a broadsheet as part of your contribution for the
week.
Many people fail to realize how art impacts their daily life. majority
doesn’t know how much of a role art plays in our lives and just how me
rely on art in all of its forms in our daily lives, It is but right that we know
these various contemporary art forms and be able to appreciate our
being a Filipino.
Page 30
In a group of five, write a song to express appreciation of the
contemporary Philippine art forms.
They can use the vernacular for the lyrics of the song to be more
enjoyable.
Presentation of their songs made.
Page 31
ATTACHMENTS
1. DANCE
• Tinikling -The dance originated in Leyte, an island in the Visayas in the central
Philippines. The Tiniklingis a Philippine dance which involves two individual
performers hitting bamboopoles, using them to beat, tap, and slide on the
ground, in co-ordination with one or more dancers who steps over and in
between poles
• Cariñosa - The dance originated in Panay Island in the Visayan Islands

The Cariñosa(meaning loving or affectionate one), is a Philippine national
dance from the María Clara suite of Philippine folk dances, where
the fan, and handkerchiefplays an instrument role as it places the couple in
romance scenario.
2. MUSIC
• Original Pilipino Music, now more commonly termed Original Pinoy

Music, Original Philippine Music or OPM for short, originally referred only to
Philippine pop songs, particularly ballads, such as those popular after the
collapse of its predecessor, the Manila Sound in the late 1970s, up until the
present.
• In the 1970s, popular OPM artists
included Nora Aunor, Pilita Corrales, Eddie Peregrina, Victor Wood and Asin,
among others. The more major commercial Philippine pop music artists
were Pops Fernandez, Claire dela Fuente, DidithReyes, Rico
Puno, Ryan Cayabyab, Basil Valdez, Celeste Legaspi, Hajji Alejandro, Rey
Valera, Freddie Aguilar, Imelda Papin, Eva Eugenio, Nonoy Zuniga and many
others.
• Between the 1980s and 1990s, OPM was led by artists such as
Regine Velasquez, Sharon Cuneta, APO Hiking Society, José Mari
Chan, Dingdong Avanzado, Rodel Naval, Janno Gibbs, Ogie Alcasid, Joey
Albert, Lilet, Martin Nievera, Manilyn Reynes, Lea Salonga, VinaMorales, Ray
mond Lauchengco, JoAnne Lorenzana, Francis Magalona and Gary Valencia
no, among many others.
• In the 1990s, famous artists/bands included
Eraserheads, Smokey Mountain, Donna Cruz, Jessa Zaragoza, Ariel
Rivera, South Border, AfterImage, Andrew
E., Jaya,LaniMisalucha, Rivermaya, Ella May Saison and Roselle Nava.
Page 32
3. FILM
• The year 2013 saw an explosion of short film productions across the Mindanao.
It also saw the birth of regional film festivals - Salamindanaw International Film
Festival held in General Santos last November and the Nabunturan Indie Film
Exhibitions (NABIFILMEX) held last December.
• Mindanao Film Festival, one of the country’s longest-running film festivals saw
a record-breaking 57 film entries, 56 of which are short films this was up from
2012’s 36 film entries.
• Cinemagis in Cagayan de Oro had 13 film entries which is also a record

number. Nabifilmex had 4 new short films from its workshops and
Salamindanaw also produced 8 short films under its Sarangani Open Shorts
Competition and 6 more shorts from its Gensan Summer Film Camp.
"Amog" (Raki Malaki, Davao)
There are other film festivals like CineMo in Iligan, University of Mindanao Film
Festival (UMFF) and the Ispeak Short Film Competitions in Zamboanga City among
other short films festivals which had mushroomed over the island.
Page 33
4. ARCHITECTURE
University of Santo Tomas – Main Building

(Image source: Wikimedia Commons)
Designed by a Spanish priest-civil engineer Rev. Fr. Roque Ruaño in 1920 to 1923,
the main building of the Philippine’s oldest university, located along
Espana Boulevard, is also the first earthquake resistant building in the country.
The design was fine-tuned after the lessons learned from the Great Kantō
earthquake that flattened Tokyo and Yokohama in September 1, 1923.
University of the Philippines – Quezon Hall

(Image source: Wikipedia.org)
Designed by Juan Nakpil, the first architect to receive the National Artist award in
1973, Quezon Hall houses the administrative offices of the university located in
Diliman, Quezon City. Constructed in the 1950s, the building sports an eclectic style,
combining different styles into one structure. The same style is used for the
university’s main library, also designed by Nakpil.
Page 34
5. THEATER
EX. 50 SHADES! THE MUSICAL PARODY

If you want to see Christian Grey and Anastasia Steele, er, perform on stage, check
out 50 Shades! The Musical Parody. Whether you love or hate the original E.L.
James best-seller and blockbuster movie, you'll probably LOL at the extremely
amusing parody of Fifty Shades of Grey. We wouldn’t want to spoil the fun, but just
to tease you a little bit more, picture this: The show opens with a ladies' book club
discussing the novel, which leads to song-and-dance numbers that will have you
ROTFL and begging for more.
REBEL
Ballet Manila stages Rebel, a ballet choreographed by London-based Martin
Lawrence, in collaboration with musical director Gerard Salonga. Rebel takes us
back to the 1986 People Power Revolution, exploring the themes of bravery and the
human struggle for freedom. It promises to enthrall its audience with tantalizing
dancing and drama, with the Khachaturian scoring performed by the ABS-CBN
Philharmonic Orchestra.
6. LITERATURE
PARA KAY B BY RICKY LEE

Ricky Lee’s Para Kay B is a romantic comedy which tells stories about five different
women, but only one out of five of them gets a happy ending. Each character has her
own chapter—a moment to tell her story—which isn’t a usual situation in a Philippine
context. A breathe of fresh air in mainstream romance, this book shows how people
are willing to take risks and sacrifices for the sake of love.
DEKADA ’70 BY LUALHATI BAUTISTA

Dekada ’70 (translated to “Decade 70”) tells the story of a woman’s struggles and
heart-breaking experiences during the difficult years in Philippine history known as
the Martial Law era. Prepare yourself for a tragic and emotionally intense plot, and
take a glimpse at how difficult it was for women to live during the Martial Law era.
This book got its movie version in 2002.
7. VISUAL ARTS
Two of Our National Artists in Visual Arts

For putting Filipino visual arts on the map and leaving a legacy that will continue to
influence and inspire generations of artists and individuals alike, these are just a few
of the legends we proudly call our National Artists:
Page 35
Fernando Amorsolo
Via Mutual Art
Our first ever National Artist is known for his paintings of Philippine landscapes and
his mastery in the use of the Chiaroscuro backlighting technique, which became his
trademark. It is believed that he has painted rainy day scenery only once. Maiden in
a Stream, Dalagang Bukid, The Mestiza, Planting Rice, and Sunday Morning Going
to Town are a few of his famous works.
Botong Francisco
Via Inquirer
Hailed the “greatest muralist of our country”, Francisco’s popular works include Blood
Compact, First Mass at Limasawa, and The Martyrdom of Rizal. One of his greatest
works ever, Filipino Struggles Through History, has recently been unveiled for public
viewing, after four years of restoration. The said mural is believed to have been
completed by Francisco only months before his passing.
Page 36
Region
Semester: First Sessions No.: 5 Date:
I. OBJECTIVES
Understanding of the significant roles of artists from
the regions.
Creates avenues to advocate the arts from the
different regions.
Learning Competencies Defines contemporary arts in the Philippines
CAR11/12CAP-Ob-3
Knowledge Determine the nature of the 7 contemporary arts in
the Philippines.
Skills Define each of the 7 contemporary arts.
Attitude Demonstrate confidence in responding to questions
asked.
II. CONTENT 1. Definition of the 7 contemporary arts
2. Nature of the 7 contemporary arts
References Contemporary Philippine Arts from the Regions pp. 3
(Diwa)
Other Learning resources Definitions taken from the internet
IV. PROCEDURES
A. Preparation Let’s find out how art gives man so much pleasure.
B. Motivational Question What life’s lessons can contemporary Philippine arts
teach us?
C. Activity Activity 1 – True or false
Instruction: If the statement is TRUE, tell students to
stand up and make a thumbs up. If the statement is
FALSE, ask students to remain seated and nod their
heads.
What contemporary art form is referred to by the
following:
1. Dance combines elements of several genres
such as modern, jazz, lyrical, and classical
ballet. Ans: TRUE
2. Liza Macuja - Elizalde is a singer. Ans:
FALSE (She is a Filipina ballerina)
3. Dance is often used to communicate or
celebrate. Ans: TRUE
4. OPM is music genre. Ans: TRUE
5. The making of cinema film is a form of art
Page 37
and not a business. Ans: FALSE (Both art
and business)
6. Literature as an art refers to written material.
Ans: FALSE (Both written and spoken)
7. Theater always refers to plays and other
dramatic performance. Ans: TRUE
D. Analysis 1. How is your score?
2. What do you think makes it high/low?
3. What is its implication
Using powerpoint presentation, the 7 contemporary Philippine art
forms will be defined. Their nature will also be discussed.
• Definition of the 7 contemporary arts
• Nature of each
(See attachment)
Concept Mapping
• The class will be divided into 7 groups
Group 1 Dance
Group 2 Film
Group 3 Theater
Group 4 Music
Group 5 Literature
Group 6 Visual Arts
Group 7 Architecture
• Each group will be given Manila paper and
pentel pen. Ask the group to come up with a
concept map of each contemporary art form
• Example:
DANCE
Page 38
Concepts and Skills in • In groups of 3, ask students to list down in an
Daily Living intermediate pad paper at least 5 examples of
each contemporary art form.
H. Generalization Defining contemporary art forms helps us to better

understand its nature and thereby be able to
appreciate human experiences.
One-Minute Paper
Ask student-volunteer what important lesson they learn
in the discussion.
application or Surf the Net
remediation Go online and write down other definitions of each
(assignment) contemporary art form given by different authors.
V. REMARKS
VI. REFLECTION

require remediation
require remediation
did these works?
can help or solve?
to share
Page 39
FIRST SEMESTER
FIRST QUARTER
Sessions 5
Topic: The Significant Roles of Artists from The Regions
Let’s find out how art gives man so much pleasure.
What Life’s lessons can Contemporary Philippine Arts teach us?
ACTIVITY 1: “TRUE OR FALSE”
Instruction: If the statement is true, tell students to stand up and make a

thumbs up. If the statement is false, students to remain seated and nod
their heads.
. What contemporary art form is referred to by the following?
1. Dance combines elements of several genres such as modern, jazz,
lyrical and classical ballet. (True)
2. Liza Macija-Elizalde is a singer. (False) –She is a Filipino Ballerina.
3. Dance is often used to communicate or celebrate. (True)
4. O P M is a music genre. (True)
5. The making of cinema film is a form of art and not a business. (False)
Both art and business
6. Literature as art refer to written materials. (False) Both written and
spoken
7. Theater always refer to plays and other dramatic performance. (True)
1. How is your score?

2. What makes it high? or low?
3. What is its implication?
Page 40
Using a power point presentation, the 7 contemporary Philippine art forms will
be defined. Examples and their natures will also be determined
See Attachment #3
ACTIVITY 2: “CONCEPT MAPPING”
The class will be divided into seven groups:

Group 1– Dance
Group2 – Film
Group3 – Theater
Group4 – Music
Group5 – Literature
Group6 – Visual Arts
Group7 – Architecture
Each group will be given manila paper and pentel pen.

Ask the group to come up with a concept map of each contemporary art form.
Page 41
DAILY LIVING
• In groups of 3, ask students to list down in an intermediate pad
paper at least 5 examples of each contemporary art form.
Defining contemporary art forms helps us to better understand its nature and
thereby be able to appreciate human experiences.
ACTIVITY 4: “ONE-MINUTE PAPER”

Students will be asked what important or significant thing they learned in the
discussion.
ACTIVITY 6 - SURF THE NET

Go online and write down other definitions of each contemporary art form given
by different authors.
Page 42
ATTACHMENTS
1. MUSIC
This is the art form that appeals to the sense of hearing. Music is composed by
combining notes into harmony.
Although the Philippines is located in Southeast Asia, its popular and contemporary
musical tradition is Western because of the Spanish and the American colonization
periods. There were no descriptions of Philippine music during the precolonization
times. According to musicologist Corazon Canave- Dioquino, however, “subsequent
reports made by friars, civil servants and travellers include descriptions of instrumental
and vocal music.” She further identified these instruments as “gongs of various kinds
of size and shapes, drums, flutes of different types, zithers, lutes, clappers, and
buzzers”. As for vocal music, Canave-Dioquino songs related to planting, harvesting,
fishing; ritual songs to drive away evil spirits or to invoke blessings from the good
spirits; songs to celebrate festive occasions particularly marriage, birth, victory at war,
or the settling of tribal disputes; mourning songs for the dead; courting songs; and
children’s game songs.
Because Christianity-particularly Catholicism-was dominant force during the Spanish

era, Canave-Dioquino described Philippine music as “religious music connected to
and outside the catholic lithurgy and a European-inspired secular music adapted by
the Filipinos and reflected in their folk songs and instrumental music.” During the
American period, she explained the Philippine music changed when music started to
be taught in schools, zarzuela entered the scene, and Filipinos were exposed to pop
culture, which gave rise to music created by Filipinos using Western pop forms.
2. DANCE
This is the art of the human form. The body is used, mobilized, and choreographed in
a specific time, form, and space.
Dance scholar B. E. S. Villaruz states that the diversity of Philippine dances, as

“manifested in different dynamics and forms, grew out of the various contexts and
experiences of the people.” This explains how the movement and choreography are
based on the different environments in the archipelago.
One of the oldest dances in the country is the Tinikling. The word tinikling is derived
from the movements of the tinikling bird as it wanders on grass stems and crushes
several branches of trees. Dance performers skip gracefully back and forth while
trying to avoid getting their feet caught by two bamboo poles. Other popular dances
in the country are the following: Binasuan, Carinosa, Pandanggo sa Ilaw, and
Manlalatik.
The Cariñosa is another well-liked dance in the country. The word Cariñosa is derived
from the Spanish word that means “the loving or affectionate one.” This courtship
Page 43
dance is closely associated with the Panay islands in the Visayas region and is said
to have Hispanic origin.
Mindanao, home to the majority of the Muslims in the country, is known for its
spirituality, royalty, and splendor which are evident in its dances. Muslim dances are
characterized by colorful and elaborate costumes as well as precise and regal
movements. Their most popular dances are the Pangalay, Burung Talo, and Asik.
3. THEATER
This is the art form of performance. Dramatic texts are portrayed on stage by actors
and actresses and are enhanced by props, lights, and sounds.
According to theatre and culture scholar Doreen Fernandez, the Philippine dramatic
tradition has its roots in the rituals and ceremonies of precolonial Filipinos. The way
they performed offerings to their gods and held communal celebrations were already
dramatic performances.
Colonization brought many forms of drama and theatre: from the religios themed
cenaculo and moro-moro, to the zarzuela, a traditional Spanish one-act comic opera
and the American entertainment, and the vaudeville, a stage performance that
consists of various play acts. Throughout the years, from the English plays of
scholastic theatre groups to the street theatre during the Martial Law period, Filipino
dramatic and theatrical practitioners continue to promote and preserve theatre arts in
the country.
4. VISUAL ARTS
In the Philippines, visual arts can be characterized as a mixture of western and native
cultural influences. When the Spaniards invaded the country, the friars were the ones
who introduced the western styles of painting and carving in which the theme was
mainly religious. All over the country. Churches have become informal museums
where paintings and statues abound.
Today, along with inspirations from other countries, Spanish influence is still apparent
in the works of Filipinos. Some visual artists have been educated and trained abroad,
introducing in the country different movements in the world of art. From the
masterpieces of Juan Luna and Felix Resurreccion Hidalgo to the modern pieces of
BenCab, 21st century Filipino visual artists have embraced native forms and themes
as well as foreign styles and techniques.
5. LITERATURE
This is the art form of language through the combined use of words, creating meaning
and experience.
Philippine literature is a rich group of literary works that has developed along with
the country’s history. Long before the arrival of Western influences, early Filipinos
already have stories to tell to younger generations.
Page 44
The Philippines has a rich collection of fables, legends, and myths, from different
regions. The babaylan, the early healers, used chants to please the supernatural
beings or spirits to bestow good health and fortune in the home and the fields.
When the Spaniards came in the 16th century, they introduced Christianity to the
islands and used literature to colonize the country. During the time of the
Americans, English was introduced, and Filipinos have grown adept in the usage of
the language. Today, contemporary writers are expanding the horizon of reality
and imagination in their works to reflect that Filipino spirit.
Philippine literature is diverse, although some of the most famous literary works
focus on the country’s postcolonial heritage, politics, and modern traditions.
Filipinos must recognize and give importance to the people behind the
development of Philippine literature.
6. FILM
This art form uses special effects to enhance the storytelling.
On January 1, 1897, the Philippines experienced its first movies with these four films:
Un home au chapeau (Man With A Hat), Une scene de danse Japonaise (Scene from
a Japanese Dance), Les Boxers (The Boxers), and La place de l’opera (Place of
L’Opera).
The showing of these fils was done in Salon de Pertierra on Escolta Street. These
films were shown using a Gaumont Chrono-photograph projector (60 mm). This
momentous event was envisioned by a Spaniard only remembered by the name of
Pertierra.
The first movie shot in the country happened in 1898 by Antonio Ramos using a
Lumiere Cinematograph imported from paris. Ramos shot the following films:
Panorama de Manila (Manila Landscape), Fiesta de Quiapo (Quiapo Fiesta), Puente
de España (Bridge of Spain) and Esceñas Callejearas (Street Scenes)t be made
possible. That is why the country continues to honor deserving artisofts in the field.
Over the years, since the arrival of cinema in the country, Filipino artists have thrived
and triumphed in the first-paced world of cinema. Without the brilliance and talents of
the people behind the art, filmmaking will not be made possible. That is why the
country continues to honor deserving artists in the field of cinema.
7. ARCHITECTURE
These are structures that meant to be used as shelter. The art of architecture relies
on the design and purpose of the structure.
Philippine architecture is unique in that it reflects its cultural heritage and the
demand to adapt to its environment. Surveying the architectural styles in the
Page 45
country reveal varieties that range from traditional Filipino dwelling, the bahay
kubo, which is a small one-room hut built using light woven materials, to modern
and stylish architectural designs that you usually see in urbanized areas.
The architecture of the Philippines reflects its history and traditions. Churches and
mosques across the country, as well as buildings in the metropolitan and rural areas
have risen in response to the growing demands of the Filipinos. Moreover, the
country is home to the best preserved planned Spanish colonial town in Asia.
During the 300 years of Spanish colonization, architecture in the country was
subjected to Spanish influences. The friars built several grand churches all over the
country that continue to stand today.
But who are the brilliant minds behind the famous buildings and grand skycrapers
in the country that you love? There are many Filipino architects who normally do
not get the admiration unlike other artists. Nevertheless, their talents have
immeasurable effect on all of us in the long term.
Page 46
Region
I. OBJECTIVES
the regions.
different regions.
Learning Competencies Defines contemporary arts in the Philippines
CAR11/12CAP-Oc-e-4
Knowledge Identify national artists on various contemporary art
forms.
Skills Research local artists who became known for their
field of art.
Attitude Give tribute to local artists to show gratitude for their
achievement.
II. CONTENT 1. National Artists
2. Their Achievements
3. Privileges enjoyed
References Contemporary Philippine Arts from the Regions pp.
38-41
(Diwa)
Other Learning resources Internet
IV. PROCEDURES
A. Preparation Who are our National Artists? What are the
privileges they enjoy?
B. Motivational Question Is there anyone whom you admire so much because
of his achievement?
C. Activity Activity 1 – Picture Prompt
• Show pictures of National Artists and their
field of art which they are known for.
• Ask them to say something each time you
flash a picture.
Example:
Picture of Liza Macuja
Picture of Fernando Amorsolo
Picture of Edith Tiempo
Picture of Fenando Poe Jr.
(See attachment for the pic)
Page 47
D. Analysis 1. Based on the pictures shown, can you guess
what is the lesson for the day?
2. Do you want to know more about them?
3. Are there local artists you know who have
become known because of their art
achievement?
Using powerpoint presentation, the national
artists will be identified and their achievement
made in the field of art.
(Please see attachment)
This table will be drawn on the board
Art Form National Artists Achievement
• The class will be divided into 7 groups, each

group will be given a task card.

Concepts and Skills in Brainstorm students by asking this question,” What do
Daily Living you think are the important qualifications to be
nominated as a national artist of the Philippines?
H. Generalization The legacy of our national artists will continue to

influence and inspire generations of artists and
individuals alike. Therefore, they must be given
tribute.
Scan Your Community
• Research local artists who have become
known for their field of art. Approach them
and ask if they can show you how they make
their art.
• Work in groups of 5.
Page 48
• Share group report to class.

application or Using the same group, make a certificate of
remediation appreciation of the local artists whom you
(assignment) approached to give tribute and express gratitude for
their contribution to the field of art.
V. REMARKS
VI. REFLECTION

require remediation
require remediation
did these work?
can help or solve?
to share
Page 49
FIRST SEMESTER
FIRST QUARTER
Session 6 - 7
Topic: Significant Contemporary artists from the regions (emphasizing the region
where the school is based)
Who are our National Artists? What are the privileges they enjoy?
Is there anyone when you admire so much because of his achievement?
ACTIVITY 1: “PICTURE PROMPT”

1. Show pictures of National Artists and their field of art of which
they are known for.
2. Ask them to say something each time you flash a picture.
Example:
• Picture of Liza Macuja
• Picture of Fernando Amorsolo
• Picture of Edith Tiempo
• Picture of Fenando Poe Jr.
(See attachment for the pic)
Page 50
1. Based on the pictures shown, can you guess what is the lesson for the
day?
2. Do you want to know more about them?
3. Are there local artists you know who have become known because of their
art achievement?

Using a PowerPoint presentation, national artists will be identified, and their
achievement made in the field of art.
(See attachment #4)
ACTIVITY 3 – APPLYING THE CONCEPT

1. A table will be written on the board with 3 columns. The heading for the first
column is Art Form, the second column is National Artists and the third column is
Achievement.
Art Form National Artists Achievement
2. The class will be divided into seven groups each.

(See attachment #5)
Brainstorm students by asking this question,” What do you think are the
important qualifications to be nominated as a national artist of the
Philippines?
Page 51
The legacy of our national artists will continue to influence and inspire
generations of artists and individuals alike. Therefore, they must be given
tribute.
ACTIVITY 5 – SCAN YOUR COMMUNITY

1. Research local artists who have become known for their field of art.
2. Approach them and ask them if they can show you how they make
their art.
3. Work in a group of five.
4. Share your report to the class.
ACTIVITY 5 – ADDITIONAL ACTIVITY

With the same group, make a certificate of appreciation of the local artists
whom you approached to give tribute and express gratitude for their
contribution to the field of art.
Page 52
ATTACHMENTS
Attachment No. 1
Year Artists Art Form Achievement

1972 Fernando Visual Arts “Grand Old man of the
Amorsolo Philippine Art for his
paintings”
1973 Francisca Reyes Dance Republic award for merit in
Aquino dance
Carlos “Botong” Visual Arts Republic Cultural Heritage
Francisco award as a muralist
Amado V. Literature Palanca awardee for his
Hernandez journalistic achievements
Antonio J. Molina Music Regarded as dean of the
Filipino composers
Juan Nakpil Architecture The pioneer and innovator
in Philippine architecture
Guillermo E. Visual Arts Described as the Father of
Tolentino Philippine Arts for
Sculpture
Jose Garcia Villa Literature One of the finest
contemporary poets
regardless of race or
language
1976 Napoleon V. Visual Arts “The Father of Modern
Abueva Sculpture”
Leonor Orosa- Dance Filipino national artist in
Goquingco creative dance
Nick Joaquin Literature Filipino writer and journalist
best known for his short
stories and novels in the
English ...
Jovita Fuentes Music Dubbed as the First Lady of
the Philippine Music
Victorio C. Edades Visual Arts Father of Modern Art in the
Philippines
Pablo Antonio Architecture A pioneer of
modern Philippine
architecture, he was
Page 53
recognized in some
quarters as the foremost
Filipino modernist architect
of his time.
1981 Vicente S. Visual Arts He was proclaimed
Manansala national artist in painting
1982 Carlos P. Romulo Literature The only Filipino journalist
to win the Pulitzer Prize, the
most coveted award for
people who write.
Gerardo de Leon Film Won major Filipino film
industry award in his
lifetime.
1987 Honorata “Atang” Theater/ The Queen of Kundiman
dela Rama Music
1988 Antonio R. Music Pambansang Alagad ng
Buenaventura Sining sa Musika
Lucrecia Reyes Dance The founding dance
Urtula director of Bayanihan
Philippine National Folk
Dance Company
1989 Lucrecia R. Music She is known for
Kasilag incorporating indigenous
Filipino instruments into
orchestral productions.
1990 Francisco Literature Carlos Palanca awardee
Arcellana for short story
Cesar Legaspi Visual Arts He is known for refining
cubism in the Philippine
context.
Leandro V. Locsin Architecture An architect, artist, and
interior designer known for
his use of concrete, floating
volume and simplistic
design.
1991 Hermando R. Visual Arts A Filipino artist best known
Ocampo for his abstract paintings.
Lucio D. San Music A master composer,
Pedro conductor and teacher
whose music evokes the
Page 54
folk elements of the
Filipino.
1997 Lino Brocka Film One of the most influential
and significant Filipino
filmmakers in the history of
Philippine cinema.
Felipe Padilla de Music Filipino classical music
Leon composer, conductor and
scholar
Wilfrido Ma. Theater Founder and artistic
Guerrero director of the UP Mobile
Theater
Rolando S. Tinio Theater/ Received 9 Carlos Palanca
Literature awards for Literature. He is
a known director, actor and
a playwright.
N.V.M. Gonzalez Literature A famed poet, short story
writer and essayist
Levi Celerio Music/Literature The Film Academy of the
Philippines gave him the
Lifetime Achievement
award
Arturo R. Luz Visual Arts A prominent printmaker,
sculptor, and art
administrator
Jose Maceda Music Is highly acclaimed Filipino
composer and
ethnomusicologist
Carlos Quirino Literature A National Artist in
Historical Literature
1999 J. Elizalde Visual Arts His career spans more than
Navarro 50 years of painting,
sculpting and other forms of
visual arts.
Ernani Joson Music Filipino composer, film
Cuenco scorer, musical director
and music teacher
Andrea O. Music Founded the Philippine
Veneracion Madrigal singers and
responsible for the
Page 55
development of Philippine
choral music.
Edith L. Tiempo Literature Received the greatest
honor as a National Artist
for Literature for short story
Daisy Avellana Theater Described as the First lady
of Philippine Theater
2001 Ishmael Bernal Film One of the pillars of
Philippine cinema
Severino Montano Theater Named as one of the Titans
of Philippine Theater
F. Sionil Jose Literature Founder of the Philippine
chapter of the international
organization PEN
Ang Kiukok Visual Arts Filipino painter known for
his expressive , Cubist-like
works.
2003 Jose T. Joya Visual Arts He initiated abstract
expressionism in the
country
Virgilio S. Almario Literature Chairman of the National
Commission for Culture
and Arts
Alejandro R. Literature Short story writer and
Roces essayist and considered as
the country’s best writer of
comic short stories
Eddie S. Romero Film Winner of FAMAS Lifetime
award
Salvador F. Bernal Theater He designed more than 300
productions distinguished
for their originality.
2006 BenCab Visual Arts Noted as the best-selling
painter of his generation.
Abdulmari Asia Visual Arts The first Asian recipient of
Imao the New York Museum of
Modern Art Grant to Europe
and Scandinavia
Bienvenido Literature Awardee of the National
Lumbera Book award given by the
National Book Foundation
Page 56
Ramon Obusan Dance Promoted the Philippine
traditional dance and
cultural work
I. P. Santos Architecture Recognized landscape
architects
Fernando Poe Jr. Film King of the Philippine
movies
Ramon Valera Architecture He is the country’s very
First National Artist for
fashion design
2009 Manuel Conde Film He contributed in the
indigenization of Philippine
cinema
Lazaro Francisco Literature He founded the Kapatiran
ng mga Alagad ng Wikang
Pilipino
Federico Aguilar Visual Arts Filipino painter known for
Alcuaz his modern abstract works,
visual arts, sculptor and
mixed media.
2014 Alice Reyes Dance Legendary founder of
Ballet Philippines
Francisco Coching Visual Arts He is a comic book creator
with 53 comic book novels.
Cirilo F. Bautista Literature Winner of the Philippine
centennial Prize for Epic
poetry
Francisco Music Composed hundreds of
Feliciano liturgical pieces, mass
settings, hymns and songs
of worship
Ramon Santos Music Head of the UP Center of
Ethnomusicology
Jose Maria Architecture Played a key role in the
Zaragoza reconstruction of postwar
Philippines.
Source: https://en.wikipedia.org/wiki/National_Artists_of_the_Philippines
Page 57
The privileges they enjoyed:
As a national artist of the Philippines, the individual is recognized for his or her
contribution to the Philippine arts. According to the NCCA, the national artist will be
given the following:
1. The rank and title of National Artist, as proclaimed by the President of the
Philippines.
2. The National Artist gold-plated medallion minted by the Bangko Sentral ng
Pilipinas (BSP) and citation.
3. Lifetime emolument and material and physical benefits comparable in value to
those received by the highest officers of the land such as the following:
4. A minimum cash award of Php 200,000.00 net of taxes for living awardees,
and a minimum cash award of Php 150,000.00 net of taxes for posthumous
awardees, payable to legal heirs.
5. A minimum lifetime personal monthly stipend of Php 30,000.00
6. Life insurance coverage for awardees who are still insurable.
7. A state funeral benefit not exceeding Php 500,000.00
8. A place of honor, in line with protocolar precedence, in state functions, national
commemoration ceremonies, and all other cultural presentations.
Attachment No. 2
Task Card and envelope, and manila paper are to be given to each group.
Instructions:
1. Using your manila paper, make a table similar to the table on the chalkboard.
Accomplish the table by filling tidbits of information.
2. Inside the envelopes, the teacher will place names of artists, art forms, and
achievements.
3. Each group will arrange the information by filling in the table.
Liza Macaju-Elizalde, Filipina Ballerina
Page 58
Fernando Amorsolo for Visual Arts
Edith Tiempo for Literature
Fernando Poe Jr.
Page 59
Region
I. OBJECTIVES
Understanding of the significant roles of artisits from
the regions.
different regions.
Learning Competencies Explains Filipino artists’ roles and identify their
contribution to contemporary arts.
CAR11/12CAP-Oc-e-5
Knowledge Discuss the significant roles of Filipino artists in the
development of Philippine MUSIC.
Skills Make tribute to the contribution of the National Artists
in the field of MUSIC.
Attitude Display creativity in presenting local music using
revised lyrics of a song.
II. CONTENT 1. National Artists in Music
2. Significant roles played
References Contemporary Philippine Arts from the
Regions(DIWA) pp. 89-98.
IV. PROCEDURES
A. Preparation Let’s find out how Filipinos so love music
B. Motivational Question Have you been in love?
How can you tell that a man/woman is in love?
C. Activity Activity 1 – Name Game
Guess the singer of the following songs:
1. Hawak Kamay Ans: Yeng Constantino
2. Dahil sa “Yo Ans: Inigo Pascual
3. Narda Ans: Kamikaze
4. Buwan Ans: Juan Karlos
5. Sa Ngalan Ng Pag-ibig
Ans: December Avenue
6. Sana Ans: I Belong To The Zoo
7. Mundo Ans: IV of Spades
8. Magbalik Ans: Callalily
9. All of Me Ans: John Legend
10. Simpleng Tulad Mo Ans: Daniel Padilla
Page 60
D. Analysis 1. How many correct answers do you have?
2. How does it feel to get familiar with the
songs?
3. Do you like those songs mentioned?
4. What makes you appreciate the songs? Is it
because of the lyrics or the singer?
IN A FORM OF A TALK SHOW
1. The class will be divided into 5 groups. Each

group will be given handouts on the different
notable artists in the field of music. One
member will portray the role of the assigned
music artisit. He will be asked by some
questions so that he will be recognized based
on his works in the field of music.
2. Using a powerpoint presentation, the national
artists will be discussed again by the teacher
to reinforce the Talk Show.

Name It
Pictures of the National Artists will be flashed on the
screen. Call students to say something about the
artist’s significant role in the development of
Philippine music.
G. Practical Applications of Watch Jovita Fuentes as the first international diva, be

Concepts and Skills in able to emulate her success.
Daily Living http://www.bookmarkthefilipinobookstore.com/jovita-
fuentes
H. Generalization Music has truly been an arena that Filipinos excel at.
It is a fact that Filipinos are music lovers. The Filipno
National Artists for music have definitely contributed
to the enrichment of the country’s music through
research, composition and outreach.
I. Evaluation “ Do It ”
The class will be divided into groups of 5. Each
group will use a local music and revise the lyrics of
the song. The lyrics must pay tribute to the
contributions of our national Artists in the field of
music.
Page 61
application or
remediation Read, “Order of the National Artists of the
(assignment) Philippines” (http://gwhs-
stg02.i.gov.ph/s2nccagovph/about-culture-
and-arts/culture-profile/national-artists-of-the-
philippines/)
V. REMARKS
VI. REFLECTION

require remediation
require remediation
did these work?
can help or solve?
to share
Page 62
FIRST SEMESTER
FIRST QUARTER
Session 8 - 9
Topic: National Artists in the Field of Music
Let’s find out how Filipinos so love music
1. Have you been in love?

2. How can you tell that a man / woman is in love?
Activity 1 – “Name Game”

Guess the signer of the following songs?
1. Hawak Kamay -Yeng Constantino
2. Narda – Kamikaze
3. Dahil sa Yo – Inigo Pascual
4. Buwan – Juan Karlos
5. Sa Ngalan ng Pagibig
6. Sana – I Belong to the Zoo
7. Mundo – IV of Spades
8. Magbalik – Callalily
9. All of Me – John Legend
10. Simpleng Tulad Mo – Daniel Padilla
1. How many correct answers did you get?

2. How does it feel to get familiar with the songs?
3. Do you like those songs?
4. What makes you appreciate the songs?
5. Is it because of the lyrics or the signer?
Page 63
ACTIVITY 2 – “TALK SHOW”
1. The class will be divided into 5 groups. Each group will be given
handouts on the different notable Filipino artists in the filed of
music. One member will portray the role of the assigned music
artist. He will be asked by some questions so that he will be
recognized based on his works in the field of music.
2. Using a PowerPoint presentation, the national artists will be
discussed again by the teacher to reinforce the “Talk Show”.
See attachment #6
ACTIVITY 3 – “NAME IT”

Pictures of the national artists will be flashed on the screen. Call students
to say something about the artist on screen.
Music has truly been an arena that Filipinos excel at. It is a fact that
Filipinos are music lovers. The Filipino national artists for music have
contributed to the enrichment of the country’s music through
research, composition and outreach.
ACTIVITY 4 – “DO IT”

The class will be divided into groups of five. Each group will use a local
music and revise the lyrics of the song. The lyrics must pay tribute to
the contributions of our National Artists in the field of music.
Page 64
Jovita Fuentes is hailed as the first international Filipino diva. Read
her biography at http://bookmarkthefilipinostore.com/jovita-fuentes
Guide question:
1. What made Jovita Fuentes the first international diva?
Page 65
ATTACHMENTS
ANTONIO R. BUENAVENTURA
1904-1996
Antonio Ramirez Buenaventura’s legacy to Philippine music, according to the NCAA,

is a musical career “that spanned seven decades of unwavering commitment to
advancing the frontiers of Philippine music.” He popularized folk songs by creating
music based on the wide array of fol songs from various ethnic groups in the
Philippines. His notable works include Ode to Freedom, Echoes of the Past, Echoes
from the Philippines, History, Fantasy, and Triumphant March.
Also, Buenaventura brought the Philippine Army Band back to its former glory, which
was recognized as “the only band that can sound like a symphony orchestra.”
ERNANI J. CUENCO
1936-1988
Ernani Joson Cuenco, according to the NCAA, had written “an outstanding and
memorable body of works that resonates with the Filipino sense of musicality and
which embodies an ingenious voice that raises the aesthetic dimensions of
contemporary Filipino music. Cuenco’s repertoire as a musician include being a music
teacher, a composer, a musical director, and a film scorer. As a film scorer, he
composed music for the films Wild Wild, Jess and El Vibora, which earned him the
Best Music Award at the Metro Manila Film Festival in 1982 and the FAMAS awards
respectively.
Cuenco is also known for his Filipino love ballads such as “Kalesa”, “”Bato sa
Buhangin”, “Gaano Kita Kamahal”, “Inang Bayan,” which are enhanced by adding the
elements of kundiman to the song.
JOVITA FUENTES
1895-1978
In 1976, Jovita Fuentes made Philippine history by being given the honor as the First
Female National Artist for Music. Trained to play the piano at age of five, famous
Italian singer Salvina Fornari mentored her to be a star. Before Lea Salonga became
a Broadway and West End Superstar, Jovita Fuentes performed roles in major
productions such as Mimi in Giacomo Puccini’s La Boheme and Princess Yang Gui
Fe in Li Tai Pe. Her role in New York production of madona Butterfly was one of her
proud moments.
Page 66
JOSE MACEDA
1917-2004
National artist Jose Maceda was a highly acclaimed Filipino composer and
ethnomusicologist. Personalities working in ethnomusicology have training in music,
cultural anthropology, legend, performance studies, dance, and cultural studies,
making the understanding of such music interdisciplinary. Maceda’s works have
resulted in a vast collection of recorded music taken from the remotest regions in the
country. You will see that most of his compositions were performed as a communal
ritual, such as the, “Ugma Ugma” (1963), “Pagsamba” (1968), and “Udlot Udlot”
(1975). His other famous compositions are “Ugnayan”, “Aroding”, and “Suling Suling.”
LUELO D. SAN PEDRO

1913-2002
An educator,
Master conductor, and a brilliant composer, national artist Luelo San Pedro through
his works “evoked the folk elements of the Filipino heritage.” Coming from a family of
musicians, he started his musical career at a young age following the footsteps of
grandfather who was the organist at the local church. San pedro led local bands such
as the Banda Angono NUmero Uno, the San Pedro Band of Angono, and the Peng
Kong Grand mason Concert Band as master conductor.
Some of his popular works include The Devil’s Bridge (orchestral music), “Sa Mahal
Kong Bayan” (choral music), Lahing Kayumanggi (band music) and sa “Ugoy Ng
Duyan” (vocal music), a famous Filipino lullaby.
LEVI CELERIO
1910-2002
Levi Celerio was a highly talented lyricist, which more than 4,000 songs under his
name. This volume of lyrics is perhaps Celerio’s contribution which has greatly
enriched the Philippine music for no less than two generations and has appealed to all
social classes. He was also known as an excellent leaf player, using a leaf to create
music as cited by the Guiness Book of World Records. He is also famous lyricist for
love songs such as “Saan Ka Man Naroroon” and “Ikaw”. He also wrote some of the
most well-liked Christmas songs such as “Misa de Gallo” and “Pasko Na Naman.”
FELIPE PADILLA DE LEON

1912-1992
Felipe Padilla De Leon is a multi-talented musician who was a composer, a conductor,

and a scholar. His works have “Filipinized Western music forms.”
Page 67
De Leon’s body of works include concertos, sonatas, and marches which often
described how Filipinos express their feelings and their aspirations in times of strife
and peace. Some of the maestro’s notable works include Mariang Makiling Overture,
Orchestertuk, and Lupang Tinubuan, and the opera adaptation NOoli Me Tangere.
LUCRECIA R. KASILAG
1917-2008
Lucrecia Roces Kasilag, a native of La Union, was a renowned Filipino composer. Her
legacy in Philippine music, according to the NCAA is to “discover the Filipino roots
through ethnic music and fusing it with Western influences.” This led to Kasilag to
create the Bayanihan Folk Arts Center for research and theatrical presentations that
urges to integrate native Filipino instruments in orchestral productions. She
popularized the following orchestral music: Her Son, Jose, Sisa, and the Legend of
Sarimanok.”
ANTONIO J. MOLINA
1894-1980
The Dean of Filipino Composers is no one else but Antonio Molina. This national artist
was a multi-talented musician, writer, and music educator. He was the last of the
music triumvirate. At a young age, he learned to play the violoncello. It did not take
long before this young talent was playing for the manila Grand Opera House. Molina
taught some of the most astonishing Filipino artists such as Felipe Padilla de leon.
“Hatinggabi,” a popular serenade for solo violin and piano supplement can be credited
to him. He also popularized the following music such as “Kung sa Iyong Gunita,” “Awit
Ni Maria Clara,” and “Larawan Nitong Pilipinas.”
ANDREA O. VENERACION
1928-2013
Andrea Ofilada Veneracion founded the Madrigal Singers. The group is one of the
most passionate and talented musical groups in the country. It acquired several
international awards including the UNESCO Artists for Peace in 2009. Aside from the
Philippine Madrigal Singers, Veneracion was also the creator of the Asian Institute for
Liturgy and Music (AILM) Chorale. By founding the Philippine Madrigal Singers,
Veneracion, according to the NCCA, had been responsible for “spearheading of the
development of Philippine choral music.”
FRANCISCO FELICIANO
1941-2014
Francisco Feliciano was a prolific composer of over 30 major works. He studied music
composition at the University of the Philippines, the Hochschule der Kuenste in Berlin,
Germany, and the yale University School of Music. He was mentored by
internationally renowned conductors and composers such as Martin Behrmann, Jacob
Page 68
Druckman, Isang Yun, H. W. Zimmerman, and Krystof Penderecki. He composed
opearas including La Loba Negra, Ashen Wings, Sikhay Sa Kabila ng Paalam (Beyond
the Farewell), and Yerma. He received the John D. Rockefeller Award in Music and
Composition in 1977.
Page 69
Region
I. OBJECTIVES
the regions.
different regions.
CAR11/12CAP-Oc-e-5
Knowledge Discuss the significant roles of Filipino artists in the
field of THEATER and DANCE.
Skills Write and present to class a rap song to create
avenues for THEATER and DANCE from identified
regions in order for others to be familiar of.
Attitude Demonstrate cooperation in group activity.
II. CONTENT 1. National Artists in THEATER and DANCE
Regions(DIWA) pp. 83-88 and 99-116.
Other Learning resources https://en.wikipedia.org/wiki/Ramon_Obusan
IV. PROCEDURES
A. Preparation Ask students whether Filipinos are performers.
B. Motivational Question Who are performers here?
What have you performed on stage?
How does it feel to perform on stage?
C. Activity Activity 1 – Tell Me
The teacher will give the following information and
students will identify who and what is referred to..
1. A Filipino dance that uses bamboo as the
main point of this dance. ANS: Tinikling
2. She is a Filipino ballerina who became the
first foreign soloist to ever join the Kirev Ballet
in 1984. She is the artistic director of Ballet
Manila. ANS: Liza Macuja-Elizalde
3. A Filipino dancer and choreographer credited
for his work in promoting Philippine traditional
dance and cultural work.
ANS: Ramon Obusan
Page 70
4. She is considered as the First Lady of
Philippine Theater. ANS: Daisy Avellana
5. He is dubbed as “The boy wonder of
Philippine movies.” ANS: Lamberto Avellana
6. A Philippine folk dance which has become
popular in the rural areas. It is usually
danced in social gathering.
ANS: Pandanggo
7. A dance derived from the Spanish word that
means “the loving or affectionate one.” This
courtship dance is said to have Hispanic
origin. ANS: Carinosa
D. Analysis 1. What have you noticed with our answers?
2. What is common with our answers?
3. What contemporary art form do they belong?
IN A FORM OF GROUP REPORTING

group will be given those notified Filipino
artists under the field of THEATER and
DANCE (Please see attachment).
2. The group will present to the class by
discussing the information provided by the
teacher.
Post It
• Paper strips will be distributed to students
containing descriptions of the National Artists.
• The teacher will post the names of the artists on
the board.
• Holding the paper strips that have the description
will post the paper strips opposite the name of
the Filipino Artists identified.
G. Practical Applications of Allow students to reflect on this quotation, “ Dance
Concepts and Skills in communicates as no other art does, because it is life.”
Daily Living
H. Generalization With this great and unwavering passion of arts, our
country has produced many outstanding dramatists
and performers. It is but right that they should be
given tribute.
Divide the class into 6 groups. Let students write
and present a rap song preferably using the
vernacular to encourage others to improve creativity
Page 71
in the field of THEATER and DANCE.
application or
remediation Watch CCPs tribute to Daisy Avellana
(assignment) https://www.youtube.com/watch?v=O7-
BHDKT6gA
Guide Questions:
1. What was the theater that made her
dream come true?
2. What was her advice to the youth?
V. REMARKS
VI. REFLECTION

require remediation
require remediation
did these work?
can help or solve?
to share
Page 72
FIRST SEMESTER
FIRT QUARTER
Session 10 - 11
Topic: National Artists in the field of Dance and Theater
Are Filipinos performers?
1. Who are performers here?

2. What have you performed on stage?
3. How does it feel to perform on stage?
ACTIVITY 1: “WHO ME?”
Guess the signer of the following songs?
The teacher will give information and students will identify who and what is referred
to. Choices are written on the board.
1. A Filipino dance that uses bamboo as the main point of this dance: Answer:
TINIKLING
2. She is a Filipino Ballerina who became the first foreign soloist to ever join the
Kirov Ballet in 1984. She is the Artistic Director of Ballet Manila. Answer: LISA
MACUJA – ELIZALDE
3. A Filipino dancer and choreographer credited for his work in promoting Philippine
traditional dance and cultural work. Answer: RAMON OBUSAN
4. She is considered as the first lady of Philippine Theater. Answer: DAISY
AVELLANA
5. He is dubbed as “The Boy Wonder of Philippine Movies”. Answer: LAMBERTO
AVELLANA
6. A Philippine Folk Dance which has become popular in the rural areas. It is usually
danced in social gathering. Answer. PANDANGGO
7. A dance derived from the Spanish word that mean “The loving or affectionate
one.” This courtship dance is paid to have Hispanic origin. Answer. CARIÑOSA
Page 73
1. What have you noticed with our answers?
3. What contemporary artform do they belong? (Answer: Theater and
Dance)
ACTIVITY 2 – GROUP REPORTING

1. The class will be divided into 6 groups. Each group will be given
those notified Filipino artists under the field of theater and
dance. (See attachment #7).
2. They will present to the class by discussing the information
provided by the leader.
ACTIVITY 3 – “POST IT”

1. Paper strips will be distributed to students containing
descriptions of the national artists.
2. The teacher will post the names of the artists on the board.
3. Holding the paper strips that have the description will post
the paper strips opposite of the name of the Filipino artists
identified.
With this great unwavering passion of arts, our country has produced
many outstanding dramatists and performers. It is but right that they
should be given tribute.
Page 74
ACTIVITY 4 – RAP SONG
Divide the class into 6 groups. Let them write and present a rap song
preferably using the vernacular to encourage others to improve
creativity in the field of dance and theater.

Watch CCP’s tribute to Daisy Avellana
https://www.youtue.com/watch?v=07-BHDKT6gA
Guide Questions:
1. What was the theater that made her dream come true?
2. What was her advice to the youth?
Page 75
ATTACHMENTS
NATIONAL ARTISTS FOR DANCE
FRANCISCA R. AQUINO
1899-1983
Francisca Reyes Aquino one of the pioneers of Filipino folk dances. She is a teacher,
nationalist, and the first Filipina to be awarded of the Order of the National Artists for
Dance. In the 1920s, Aquino conducted research on Filipino dances by visiting
secluded districts and neighborhoods in the island of Luzon. Her 1926 thesis entitled
“Philippine Folk Dances and Game” has been a thorough guide to many educators
and students in understanding the different dances in the country. She received
several other awards, which include the Republic Award of Merit awarded by the
former President Ramon Magsaysay and a Cultural Award from United Nations
Educational, Scientific and Cultural Organization (UNESCO)
LEONOR O. GOQUINGCO
1917-2005
Leonor Orosa Goquingco, also known as Cristina Luna, has been dubbed as the
Trailblazer, Mother of Philippine Theater Dance, and Dean of Filipino Performing Arts
Critics. Goquingco is a national Artist for Dance, Coquingco was gifted with many
talents that included piano playing, scene and costume design, sculpture, acting,
direction, dance, and choreography. She has pioneered the blending of folk dance
and ballet, making the latter more viable. Her famous choreographies include the
following: The Firebirds, The Clowns, and Noli Dance Suite. Inspired by dances of the
Igorots, the Moros, and Christians, she produced Filipinescas: Philippine Life, Legend
and Love in Dance in 1960. Her book The Dances of the Emerald Isles: A Great
Philippine Heritage published in 1980 covers a comprehensive cross section of the
inestimable music and dance tradition of the Filipinos.
RAMON OBUSAN
1938-2006
National artist Ramon Obusan is a dancer, choreographer, stage designer, and artistic
director. In 1972, equipped with valuable amount of research and artifacts, Obusan
established the Ramon Obusan Folkloric Group (ROFG), a dance company that
reflects the culture of Filipinos in dance and music. The ROFG performed dance
productions and rituals from ethnolinguistic and indigenous groups including those
from the natives of Cordillera, the Bagobo, the Aetya, the Maranaw, and the T’boli.
LUCRECIA REYES URTULA

1929-1999
Lucrecia Reyes Urtula was the dance director of the Bayanihan Philippine national
Folk Dance Company (now the Bayanihan Dance Company), which is considered as
the oldest dance company in the country. She choreographed creative dances based
Page 76
on her most recognized dances are the Singkil, Vinta, tagabili, Pagdiwata, and
Salidsid.
ALICE REYES
1942-
Alice Reyes is the legendary founder of Ballet Philippines, the country’s premier ballet
dance company. A dancer and choreographer, Reyes extensively trained abroad at
the Colorado College and the Sarah Lawrence College. She received grants from the
John D. Rockefeller III Foundation and the Music Promotion Foundation of the
Philippines. She is the choreographer of favorite ballet productions such as Cinderella
and Romeo and Juliet, and Filipino works such as Amada, Itim-asu, Bayanihan
Remembered, and Mga Babae. Her lasting contribution is the professionalization of
dance as a career.
National Artists for THEATER
DAISY AVELLANA
1917-2013
Daisy Avellana is considered to be the First Lady of Philippine Theater. Born in Roxas
City, Capiz in 1917, Avellana was not only a notable actress but was a passionate
director and writer. Her contributions to Philippine Theater, as cited, had brought “a
new level of excellence by staging and performing in breakthrough productions of
classic Filipino and foreign plays.” Her advocacy and efforts had also brought about
profound reformation in dramatic and theatrical practice in the country “by encouraging
the establishment of performing groups and the professionalization of Filipino theater.”
Her performances were exquisite and alluring, taking in roles in productions such as
Othello, Macbeth in Black, Casa de Bernarda Alba and Tatarin.
HONORATA “ATANG” DE LA RAMA

1905-1991
When the Philippines was still under American rule, Atang de la Rama battled for
supremacy of the kundiman. She popularized the song “Mutya ng Pasig” by
Deogracias Rosario and Nicanor Abelardo. In 1987, former President Corazon C.
Aquino declared her as a National Artist for Theater and Music. Atang has been
crowned as the Queen of the Kundiman, as she began her career in music and
performance at the early age of seven. She started in zarzuelas such as Marina,
Mascota, and Sueno de Un Vals. For Atang, the zarzuela and kundiman “express
best the Filipino soul.” Not only was de la Rama a stage performer, she was also
credited to have penned the zarzuelas Anak ni Eba, Aking Ina, and Puri at Buhay.
ROLANDO S. TINIO
1937-1997
Rolando Santos Tinio was a director, actor, educator, critic, translator, poet, and
dramatist. This national artist was also known for translating western classics into
Page 77
Tagalog, including the works of Shakespeare (The Merchant of Venice), Arthur Miller
(Death of a Salesman), Samuel Beckett (Waiting for Godot) and August Strinberg
(Miss Julie). Tinio’s work as a director is well remembered as someone “whose
original insights into the scripts he handled brought forth productions notable for their
visual impact and intellectual cogency.” Perhaps the highlight of Tino’s colorful career
was when he became the artistic director of the CCPs resident theater company,
Tanghalang Pilipino. His legacy as Teatro Pilipino’s artistic director is his laborious
efforts to revitalize Filipino drama through the revival of traditional works which is
described with “excellence and beauty of his practice that claimed for theater a place
among the arts in the Philippines,” according to the NCCA.
SALVADOR F. BERNAL
1945-2011
In 1969, national artist Salvador Floro Bernal began his career in theater. He was part
of over 300 productions in art, film, and music. Bernal’s style is known for maximizing
the use of raw materials in theater production. He used native Filipino materials such
as bamboo, abaca fiber, and the basic gauze cacha. He was not only a theater
designer but also an educator who transmitted his knowledge and skill by holding
classes and training in universities and the CCP.
LAMBERTO V. AVELLANA
1915-1991
Lamberto Vera Avellana’s legacy is one that has lived in both theater and film.
Avellana’s Barangay Theater Guild propagated many dramatic and theatrical
performances of foreign and local plays, from the readings of Shakespeare’s tragedies
to Nick Joaquin’s A Portrait of the Artist as Filipino. His contributions to film started
early on, and he was dubbed as “The Boy Wonder of Philippine Movies” in 1939. From
being a stage actor, Avellano took on the challenge as film director and has directed
landmark films such as Kandelerong Pilak (the first Filipino film to be shown at the
prestigious Cannes International Film Festival), Sakay, Anak Dalita, and Badjao.
WILFRIDO MA. GUERRERO

1911-1995
Wilfrido Ma. Guerrero was a talented writer, director, educator, and artist who wrote a
number of outstanding plays, 41 of which were circulated. At the young age of 14,
Guerrero No Todo Es Risa in Spanish. Perhaps this artist’s greates contribution to
arts is his introduction of the concept of a theater campus tour. This revolutionary
outreach program staged over 2,500 performances in almost two decades of runs. His
works include Half an Hour in a Convent, Wanted: A Chaperon, Forever, Condemed,
In Unity, Three rats, Our Strange Ways, and The Forsaken House.
Page 78
Region
I. OBJECTIVES
the regions.
different regions.
CAR11/12CAP-Oc-e-5
Knowledge Explain the significant roles of Filipino artists in the
field of VISUAL ARTS.
Skills Identify the notable achievements of these Filipino
artists.
Attitude Show gratitude to Filipino artists in the field of
VISUAL ARTS by creating avenues to advocate this
art form.
II. CONTENT 1. National Artists in VISUAL ARTS
Regions(DIWA) pp. 68-82.
IV. PROCEDURES
A. Preparation It’s for us to unravel the hidden meaning of paintings
and carvings.
B. Motivational Question Do paintings speak louder than words?
What about carving?
How do interpret the meaning of the products of
Visual Arts?
C. Activity Activity 1 – Brainstorming List
• Present this quote by Horace, “A picture is a
poem without words.”
• In groups of 5, instruct students to make a
brainstorming list of their interpretation of the
quote.
• Example
Page 79
Different
people have
different
thoughts
Interpretation is
dependent upon
the imagination Pictures
and creativity of
the person. have deep
meaning
“A picture is a
poem without
words.”
The picture
illustrate
direct Telling stories
meaning using pictures
Picture is not a
picture but it is
a story without
words
D. Analysis 1. Based on those ideas, how do you

interpret visual arts?
2. Do you agree or disagree?
IN A FORM OF GROUP REPORTING

group will be given those notified Filipino
artists under the field of VISUAL ARTS.
2. The group will present to the class by
discussing the information provided by the
teacher.
Write It
• Using the same grouping, each group will
create statements how these Filipino
artworks affect the lives of Filipinos
• Statements will be written on the board.
• Call students whether they agree or disagree
with the statements written.
G. Practical Applications of Slogan Writing
Concepts and Skills in Create a slogan that expresses gratitude to Filipino
Daily Living artists under VISUAL ARTS. Use a long bondpaper.
H. Generalization The national artists for Visual Arts portray the rich
culture, customs, and traditions of the Philippines in
Page 80
the reality of globalization and rapid modernization
that continues to threaten the Filipino heritage. The
works of these national artists preserve Filipino
culture and traditions by inspiring imagery produced
by paintbrush and canvas, a smooth piece of wood,
and clay. Arts can help the Filipino community to
look back and learn from the country’s history and
tradition.
Match the statement by connecting a line to the
name of the artist.
application or
remediation Visit http://gwhs-stg02.i.gov.ph/~s2nccagovph/about-
(assignment) culture-and-arts/culture-profile/national-artists-of-the-
philippines(accessed 2 September 2015)
V. REMARKS
VI. REFLECTION

require remediation
require remediation
did these works?
can help or solve?
to share
Page 81
FIRST SEMESTER
FIRST QUARTER
Session 12 - 13
Topic: National Artists in the field of Visual Arts.
Let’s unravel the hidden meaning of paintings and carvings.
Do pictures speak louder than words?
ACTIVITY 1 – BRAINSTORMING LIST

1. Present this quote by Harrace, “A Picture is a Poem without
Words.”
2. In a group of five, instruct students to make a brainstorming
list of their interpretation of the quote.
Picturesrequire
deep meaning
Different people
Telling stories using
have different
pictures
thoughts
A picture is a poem
without words
Interpretation is
the picture dependent upon
illustrates direct the imagination and
meaning creativity of the
person
pictureis not a
picture but a story
without words.
Page 82
Based on those ideas listed, how do you interpret visual aids?
ACTIVITY 2 – REPORTING
The class will be divided into groups. Each group will present the
assigned Filipino artist under visual arts. Reporting of the group must
emphasize their notable works.
ACTIVITY 3 – “WRITE IT”

• With the same grouping, each will create statements how these
Filipino artworks affect the lives of Filipinos.
• Statements will be written on the board.
• Call students whether they agree or disagree with the statements
written.
ACTIVITY 4 – SLOGAN WRITING

Create a slogan that expresses gratitude to Philippine Artists under
visual arts. Use a long bond paper.
Visual arts could be a product of using native and foreign styles and
techniques that influence many aspects of the lives of the Filipinos.
ACTIVITY 4 – “DO IT”

Match the statement by connecting a line to the name of the artist.
See Attachment
Page 83
Create your own sample of artwork using indigenous materials found
around you.
ATTACHMENTS
NATIONAL ARTISTS FOR VISUAL ARTS
NAPOLEON ABUEVA
1930-
Born in Tagbilaran, Bohol Napoleon Abueva is considered the Father of Modern

Philippine Sculpture. Abueva is also the youngest awardee to receive the National
Artist award. His works used varied materials ranging from hardwood to coral and
adobe. He is the man behind famous artworks such as The Transfiguration at the
Eternal Garden Memorial Park, The Water Buffalo and the bronze image of Teodoro
M. Kalaw found in the façade of the National Library. The death masks of famous
personalities such as Benigno Aquino, Jr. and Fernando Poe Jr. are also credited to
this talented national artist.
ANG KIUKOK
1931-2005
National artist Ang Kiukok was born to immigrant Chinese parents Vicente Ang and
Chin Lim. He is one of the most talented and energetic figures who began his
flourishing career during the 1960s. His works continue to inspire and influence
Filipinos. Looking at his works, you will be captivated by visual intensity and also be
overwhelmed by its meaning. Art critics praise Ang Kiukok for works which are as
cited by the NCCA, “imbued with nationalist fervor and sociological agenda.”
Some of his famous works include Geometric Landscape (1969), Dog Fight, Pieta
(1962), which won a bronze medal in Saigon, and the Seated Figure (1979), which
was auctioned at Singapore’s Sotheby’s.
VICTORIO C. EDADES
1896-1985
National artist Victorio C. Edades is the Father of Modernism in Philippine Arts.

Edades showed his attraction toward the style of impressionists such as Cezanne and
Page 84
Paul Gauguin early in his career. As compared with Amorsolo who liked to use bright
and vivid hues, Edade’s colors were dark and gloomy. Most of the subjects found in
are Filipino laborers in their everyday situations. His paintings, according to NCCA,
depict the working class in “rough, bold impasto strokes, and standing tall and singular
in his advocacy and practice.”
Some of the remarkable works of art by Victorio Edades are The Sketch, Poinsettia
Girl, The Wrestlers, Portrait of the Professor, and Japanese Girl.
CESAR LEGASPI
1917-1994
National artist Cesar Legaspi was recognized as the pioneer of the Neorealist
movement of the country. Legaspi’s art is said to have paved the way to the birth of
modern art in the Philippines. Although he worked on his paintings as he was
operating as a magazine illustrator and as artistic director in advertising agencies, he
was able to create masterpieces that made “use of the geometric fragmentation
technique, weaving social comment and juxtaposing the mythical and modern into his,
overlapping, interacting forms with disturbing power and intensity. “Tree Planting, Man
and Woman, Reclining Nude, and Gadgets are some of his notable paintings.
VICENTE S. MANASALA
1910-1981
National artist Vicente Manansala was an extra ordinary illustrator and cubist painter.
Born in Macabebe, Pampanga, Manansala’s paintings depicted the barrio and the city
together and were often characterized according to NCCA, as “visions of reality
teetering on the edge of abstraction.” Manansala trained in Paris and at the Otis
School of Drawing in Los Angeles. His famous masterpiece, the Madonna of the
Slums represents a mother and child from the country. In his other canvasses such
as the Jeepney and Birdman, he combined the elements of provincial folk culture with
the busy streets of the city.
HERNANDO OCAMPO
1911-1978
Being a self-taught painter did not stop Hernando R. Ocampo from becoming a
National Artist for Visual Arts. He is not just an exceptional visual artist. Ocampo’s
works, as cited, are often praised to have, “provided an understanding and awareness
of the harsh social realities in the country.” Ocampo invented a new mode of
perception and demonstrated the atmosphere and the wildlife of the Philippines. He
used movement and bold colors in his artworks. As a visual artist, some of his popular
works include Nude with Candle and Flower, Ina ng Balon, Kasaysayan ng Lahi, Man
and Carabao, Revelation 8, Ancestors, and Fiesta.
Page 85
FERNANDO C. AMORSOLO
1892-1972
Fernando Amorsolo is the country’s first national artist, heralded as the “Grand Old
man of the Philippine Art.” He started his art education as an apprentice at age of 13
and formally enrolled at the Art School of the Liceo de Manila and then the University
of the Philippines. A study grant provided by business tycoon Enrique Zobel de Ayala
enabled Amorsolo to study at the Academia de San Fernando in Madrid. National
Artist for Literature Nick Joaquin described Amorsolo’s work as “The rapture of a
sensualist utterly in love with the earth, with the Philippine sun…” Most of Amorsolo’s
works depicted the rich rural landscape of the Philippines.
Some of Amorsolo’s famous works include Tree Planting, Defense of a Filipina
Woman’s Honor, Planting Rice (1946), and Sunday Morning Going to Town (1958).
CARLOS “BOTONG” V. FRANCISCO
1912-1969
More commonly known as “Botong,” Carlos Francisco was a muralist from Angono,
Rizal. He became famous because of his massive murals and for his outstanding
depiction of historical pieces. Botong’s artistic genius is in his ability to turn “fragments
of the historic past into vivid records of the legendary courage of the ancestors of his
race.” Francisco’s impressive works include Blood Compact, Bayanihan sa Bukid,
First Mass at Limasawa, Magpupukot, The Martyrdom of Rizal, and Fiesta.
ARTURO “ART” R. LUZ

1926-
Arturo Rogerio Luz was a prominent printmaker, sculptor, and art administrator who
was named as a national artist for visual arts in 1997. Luz was a minimalist and he
used geometric abstracts that “exemplify an ideal of sublime austerity in expression
and form.” Luz also pioneered the professionalization of the art galleries that “set a
prestigious influence over generations of Filipino artists.”
Credited to his name are some of the country’s best masterpieces such as Bagong
Taon, Man With Guitar, Self-Portrait, and Cities of the Past. His Black and White mural
can be viewed in the hall of CCP’s Bulwagang Carlos V. Francisco (Little Theater).
J. ELIZALDE NAVARRO
1924-1999
Born in Antique, Jerry Elizalde Navarro is both a painter and a sculptor whose works,
aside from painting and sculpture include graphic design, printmaking, and mask-
making in hardwood which “merge the human and the animal.” He represented the
country at the Sao Paolo Biennale in Brazil for Sculpture.
Page 86
Some of his most illustrious works are I’m Sorry Jesus, I Can’t Attend Christmas This
Year, Homage to Dodjie Laurel; A Flying Contraption for Mr. Icarus; Singkil; Is he The
Man?; and The Seasons.
GUILLERMO E. TOLENTINO
1890-1976
In 1973, Guillermo Estrella Tolentino was named as National Artist for Visual Arts for
his countless contributions in Philippine sculpture that are iconic and truly a pride of
the Filipino people. He was a master in classical sculpture, having been “a product of
the Revival Period in Philippine Art.” Tolentino was trained and educated in the Royal
Academy of Fine Arts in Rome. Many of his brilliant scultures include Oblation,
Bonifacio Monument (in Caloocan), the figures of Jose Rizal (in UP), president Quezon
(in Quezon Memorial) and President Magsaysay (in GSIS Building). Tolentino also
designed the medals for the Ramon Magsaysay Award and the seal of the Republic
of the Philippines.
JOSE T. JOYA
1931-1995
A former dean of the College of Fine Arts of UP, Jose T. Joya initiated abstract
expressionism in the country. Abstract expressionism is the use of the abstract style
to convey strong emotional or expressive content. His masterpieces showed “dynamic
spontaneity” and “quick gestures” of action painting. Majority of his works were
strongly influenced by the tropical landscapes of the country’s beautiful islands. Some
of his inspiring masterpieces are Nanking, Hills of Nikko, Mariveles, Beethoven
Listening to the Blues, Cityscape, Granadean, Arabesque, and Biennial.
BENEDICTO “Bencab” R. CABRERA

1942-
Also known as “Bencab,” this national artist is a brilliant painter who has “upheld the
primacy of drawing over the decorative color.” Bencab’s first experience of the arts
transpired through his elder sibling Salvador, who was already a recognized artist. As
a lyrical expressionist, Bencab represented Philippine society through Sabel, a
symbolic scavenger which he describes as “a melancholic symbol of dislocation,
despair, and isolation-the personification of human dignity threatened by life’s
vicissitudes, and the vast inequities of Philippine society.” Cabrera’s greatest
contributions to the Philippine arts are Madonna with Objects (1991), Studies of Sabel
(diptych, 1991), People Waiting (1989), The Indifference (1988), and Waiting for the
Monsson (1986).
Page 87
ABDULMARI ASIA IMAO
1936-2014
A native of Sulu, this national artist was a remarkable sculptor, painter, ceramist,
photographer, writer, and cultural researcher. National Artists Guillermo Tolentino and
Napoleon Abueva had mentored him to become the artist that he was. Imao
incorporated in this works native motifs and designs such as sarimanok , the naga,
and the ukkil which as helped develop among ethnic groups trust and confidence
essential for the development of a civilized society. The Industry Brass Mural and
Mural Relief on Filmmaking in Manila City Hall are some of his notable works.
FRANCISCO COCHING
1919-1998
Francisco Coching is a comic book creator with 53 comic book novels of his home.
Unable to finish his studies, he took on an apprenticeship at Liwayway magazine under
Tony Velasquez. His works include the following: Hagibis, El Indio, Don Cobarde,
Pagano, Dumagit, Lapu-lapu, Bulalakaw, Waldas, Talipandas, Palasig, Movie fan, Gat
Sibasib, and Satur. On Coching, art critic Alfredo Roces noted that “for two decades,
Francisco Coching’s fanciful stories captured the popular imagination. Borrowing from
the long tradition of romances and corridos along with the moro-moro and zarzuela of
the colonial era, Coching reimagined Philippine history in his enduring works.”
Page 88
Region
I. OBJECTIVES
Understanding of the significant roles of artists from the
regions.
Creates avenues to advocate the arts from the different
regions.
CAR11/12CAP-Oc-e-5
Knowledge Explain the significant roles of Filipino artists in the field
of LITERATURE.
Skills Rearrange information to match with the name of the
Filipino artists in LITERATURE..
Attitude Show interest in creating avenues to advocate
LITERATURE written by local artists..
II. CONTENT 1. National Artists in LITERATURE
References Contemporary Philippine Arts from the Regions(DIWA)
pp. 43-52.
Other Learning resources https://www.slideshare.net/jahwella/national-artists-for-
literature-and-their-contributions
IV. PROCEDURES
A. Preparation Let’s take a look at our country’s most talented and
famous writers. Can you name some of them?
B. Motivational Question What made our Filipino writers famous?
C. Activity Activity 1 – Guess What
Guess the missing letters to form the mystery words.
1) L __ __ E __ __T __ __ E
= Written works that are considered of superior or
lasting artistic merit. Ans: Literature
2) C __ __ __ N
= A collection of written works determined by a society
to have significant value and importance.
Ans: Canon
3) C __ N __ N __ C __ L
= Belonging to a collection of works considered to be
Page 89
valuable. Ans: Canonical
4) G __ N __ E
= A way of differentiating one thing from another
writing.
D. Analysis 1. Were you able to form the words quickly?

2. What made you form the words at once?
3. Based on the words that are formed, what do
you think will be the topic of our discussion
today?
4. Abstraction ACTIVITY 2 – TO DISCUSS THE CONCEPT
LECTURE DISCUSSION
Using a powerpoint presentation, the names of

canonical writers and their contributions will be
discussed.
5. Application Activity 3 – To Apply the Concept
“Know Me?”
The teacher will divide the class into 6 groups.
Task cards will be given to each group where
students will rearrange the information to
accomplish the table.
Art Form Name of Achievement

Canonical Writers
L
I
T
E
R
A
T
U
R
E
6. Practical Applications of One-Minute Talk

Concepts and Skills in Daily
Living Ask students who among the canonical writers they
admire the most and explain why.
7. Generalization Philippine literature is a rich storehouse of narratives
and texts that date back from the precolonial times to
the contemporary. It will continue to evolve as writers
continue to write about the realities and conditions of
Page 90
the country. Exceptional Filipino literary artists have all
immensely enriched Philippine literature through their
timeless narratives of the Filipino spirit.
8. Evaluation Make a creative presentation how you can express
tribute to Filipino canonical writers.
9. Additional activities for ACTIVITY 6 - EXTEND YOUR KNOWLEDGE
application or remediation Visit the NCCA website (accessed 2 September 2015)
(assignment) http://www.ncca.gov.ph/about-culture-and-arts/articles-
on-c-n-a/article.php?igm=1&i=130
V. REMARKS
VI. REFLECTION

No. of learners who continue
to require remediation
Did the remedial lesson
work? No. of learners who
have caught up the lesson
did these work?
encounter which principal
and supervisor can help or
solve?
did I use/discover which I
wish to share
Page 91
FIRST SEMESTER
FIRST QUARTER
Session 14 - 15
Topic: National Artists in the field of Literature
Take a look at our country’s most talented and famous writers. Can you name
some of them?
What made our Filipino writers famous?
ACTIVITY 1: “GUESS WHAT”

Write the missing letters to form the mystery word.
Guess the missing letters to form the mystery words.
1. L __ __ E __ __T __ __ E
Written works that are considered of superior or lasting artistic
merit. Ans: Literature
2. C __ __ __ N
= A collection of written works determined by a society to have
significant value and importance.
Ans: Canon
3. C __ N __ N __ C __ L
= Belonging to a collection of works considered to be valuable.
Ans: Canonical
4. G __ N __ E
= A way of differentiating one thing from another writing.
Page 92
1. What have you noticed with our answers?
3. What contemporary artform do they belong? (Answer: Theater and
Dance)
ACTIVITY 2 – TO DISCUSS THE TOPIC

Using a PowerPoint presentation, the names of canonical writers and
their contribution will be discussed.
See attachment
ACTIVITY 3 – APPLICATION
1. The teacher will divide the class into 6 groups.
2. Task cards will be given to each group where students will rearrange
the information to accomplish the table.
Art Form Name of Canonical Achievement

Writer

DAILY LIVING
.
Visit the NCCA website (accessed 2 September 2015)
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-
a/article.php?igm=1&i=130
Page 93
Philippine Literature is a rich storehouse of narratives and texts that date back
from the precolonial times to the contemporary. It will continue to evolve as
writers continue to write about the realities and conditions of the country.
Exception artists have all immensely enriched Philippine literature through
their timeless narratives of the Filipino spirit.
Activity 4 – 5
Make a creative presentation how you can express tribute to Filipino
canonical writers.

Visit the NCCA website (accessed 2 September 2015)
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-
a/article.php?igm=1&i=130
Page 94
ATTACHMENTS
NATIONAL ARTISTS FOR LITERATURE
FRANCISCO ARCELLANA
1916 - 2002
One of the greatest Filipino poets of his generation is Francisco Arcellana. He studied
in Tondo Intermediate School. However, it was at the manila West High School (which
was later named the Florentino Torres High School) that he took up his writing
seriously and became a staff member of The Torres Torch, the school organ. While
still a student at Florentino Torres High School, he wrote his first story, “The man Who
Would Be Poe.” Arcellana is considered as one of the pioneers of modern Filipino
short story in English. His short stories are written in lyrical prose-poetic form.
Arcellana’s exceptional works in fiction include “Death in a Factory”, “A Clown
Remembers,”” Divided by Tw,” Some of his poems include, “The Other Woman,” “To
Touch You,” and “I Touch Her” which are among others are now part of the secondary-
and-tertiary syllabi in the country.
N.V.M. GONZALES
1915 - 1999
Nestor Vicente Madali Gonzales was born on 8 September 1915 in the beautiful
province of Romblon. In 1948, N.V.M. Gonzales received a Rockefeller Foundation
Fellowship, which allowed him to study in Standford University and Columbia
University. He is a famed poet, short story writer, essayist, professor, and recipient of
numerous recognitions. Two years before his death, he was proclaimed as a National
Artist for Literature. Some of his famous works are the following: The Winds of April
(1941), A Season of Grace (1956), and The Bamboo Dancers (1988). His exemplary
works have been published in several languages including Filipino, English, Chinese,
German, Russian, and Indonesian.
NICK JOAQUIN
1017 - 2004
Nick Joaquin’s literary works are prolific and unparalleled. He is considered by many
as the people’s writer because his passion for writing embraced the manifold being of
Filipinos. Nick Joaquin’s first short story dealt with the vaudeville of Manila, “The
Sorrows of Vaudeville,” published in 1937 by the Sunday Tribune Magazine. He
worked as a journalist for most of his life, pioneering literary journalism. Literary
journalism is the reportage of actual events that employs literary techniques. He
became national Artist in 1976. Some of his renowned works are The Woman Who
Had Two navels, A Portrait of the Artist as a Filipino, An Elegy in Three Scenes,Manila,
My Manila: A History for the Young, The Ballad of the Five Battles, Rizal in Saga: A
Life for the Student Fans, Almanac for Manileños, and Cave and Shadows.
Nick Joaquin used the pen name Quijano de Manila for some of his works.
Page 95
F. SIONIL JOSE
1924
Francisco Sionil Jose is a prolific Filipino writer whose works have been translated in
more than 20 languages. His literary works represent the social under printings of
class struggles and colonialism in the society. One of his popular novels The
Pretenders, is the story of one man’s separation from his poor background and the
dissipation of his wife’s prosperous family. Perhaps his most famous work is the
Rosales Saga “captures the sweep of the Philippine history while simultaneously
narrating the lives of generations of the Samsons whose personal lives intertwine with
the social struggles of the nation.
Jose was the founder of the Philippine chapter of the international organization PEN.
In 1999, he was awarded the CCP Centennial Honors for the Arts.
JOSE GARCIA VILLA

1908 - 1997
In the 20th century, Jose Garcia Villa is considered as a powerful literary influence in
the country. Many people think that his personality and writing style are eccentric. If
you will study Villa’s work, you will notice his use of comma in every word. Villa
described this style as similar to Seurat’s architectonic and measured pointillism.
Pointillism is a painting technique in which the artist uses small, distinct dots of pure
color to create an image. Villa’s first collection of short stories was published under
the title Footnote to Youth: Tales of the Philippines and Others in 1933. His poetry
collections include Doveglion: Collected Poems, Poems 55, and Poems in Praise of
Love: The Best Love Poems of Jose Garcia Villa.
Doveglion is Jose Garcia Villa’s pseudonym.
EDITH L. TIEMPO
1919 - 2O11
Edith L. Tiempo’s literary works are often described as a remarkable fusion of style and
substance. This brilliant writer received several awards during her lifetime. She received the
greatest honor as a National Artist in Literature in 1999, and a recipient of the Carlos Palanca
Memorial Awards for Literature for the short story, “The Black Monkey” in 1951. Her works
include the following novels: A Blade of Fern (1978), The Native Coast (1979), and The Alien
Corn (1992). Her poetry collections include The Tracks of Babylon and Other Poems (1966)
and the Charmer’s Box and Other Poems (1993).
Together with her husband, fictionist and novelist Edilberto K. Tiempo, she founded the Silliman
University National Writer’s Workshop which was modeled after the Iowa Writers Workshop in
the University of Iowa. The Silliman University National Writers Workshop is Asia’s longest
running writer’s workshop held in the city of Dumaguete. A writers workshop is devoted to
helping emerging writers cultivate their own craft.
VIRGILIO S. ALMARIO
1944
Also known as Rio Alma, Virgilio S. Almario is a Filipino poet and historian. He was born on 9
March 1944 in San Miguel de Mayumo, Bulacan. He has translated for theater production
some of the famous plays of Nick Joaquin and international literary artists such as Bertolt
Brecht and Maxim Gorki. His translations of Jose Rizal’s Noli Me Tangere and El Filibusterismo
Page 96
were considered by the Manila Critics Circle as the best version. His works in poetry include
Makinasyon, Peregrinasyon, the trilogy Doktrinang Anakpawis, Mga Retrato at Rekwerdo, and
Muli, sa Kandungan ng Lupa.
AMADO V. HERNANDEZ
1903 - 1970
This courageous Filipino writer was well-known for his disapproval of social injustices in the
country. He was later imprisoned for his participation in the communist movement. He firmly
believed that writers play an important role in society, acting “as the conscience of society and
to affirm the greatness of the human spirit in the face of inequality and oppression.”
He wrote his novel Mga Ibong Mandaragit while in prison. Other notable works by Amado V.
Hernandez include the following: Bayang Malaya, Isang Dipang Langit, Luha Ng Buwaya,
Tudla at Tudling: Katipunan ng mga Nalathalang Tula 1921-1970, Langaw sa Isang Basong
Gatas at Iba pang Kwento ang Magkabilang Mukha ng Isang Pang Akda.
He was married to another national artist, Filipino actress Atang dela Rama.
CARLOS P. ROMULO
1898 - 1985
Carlos P. Romulo was an envoy, statesman, soldier, correspondent, writer, and founder of Boy
Scouts of the Philippines. He was already a reporter by the young age of 16, and became a
publisher at 32. He was the only Asian to be awarded a Pulitzer Prize in Journalism for a series
of articles forecasting the outbreak of World War II.
His body of work includes the following: The United (a novel), I Walked with heroes (an
Autobiography), I Saw The Fall of the Philippines, Mother America, and I See The Philippines
Rise (war time memoirs).
With countless years of service in the United Nations (UN) and the Philippine
government, he was able to write Forty Years: A Third World Soldier at the UN and the
Philippine Presidents, his record of his encounters with the country’s leaders.
CARLOS P. QUIRINO
1910 - 1999
Carlos L. Quirino is one of the most talented biographers of his time. He was
the first Filipino to be recognized as the National Artist in Historical Literature in 1997.
Quirino obtained his journalism degree from the University of Wisconsin at Madison in
1931. He wrote Man of Destiny (1935), a biography about the second president of the
Philippines, Manuel L. Quezon. This book is a valuable addition to Philippine literature,
as its subject was undoubtedly one of the most brilliant leaders of the country.
Quirino then spent some of his years working as an assistant to President
Elpidio Quirino, who helped him study law until he passed the bar in 1940. Most of
Quirino’s topics covered war, politics, art, business, and agriculture.
Page 97
ALEJANDRO R. ROCES
1924 - 2011
Alejandro Roces was an exceptional writer of comic short stories. One of his
finest literary works is “My Brother’s Peculiar Chicken.” It is a short story that reveals
how much people perceive things around them. This particular story won an award in
the University of Arizona and was listed in Martha Foley’s Best American Short Stories.
Roces also wrote several newspaper columns. He has always focused on the
derelict aspects of the country’s cultural heritage. His works have been published in
a variety of international publications. Roces is also a multi-awarded writer, receiving
honors and recognitions including the Rizal Pro Patria Award and the Gawad CCP
para sa Sining.
LAZARO FRANCISCO
1898 -1980
Lazaro Francisco is considered to be an icon in Tagalog writing through his
nationalist and social criticisms. In 1958, he founded the Kapatiran ng mg a Alagad
ng Wikang Pilipino (KAWIKA). His works include the novels Binhi st Bunga, Cesar,
Ama, Bayang Nagpatiwakal, Sa Paanan ng Krus, Ang Pamana ng Pulubi, and Bago
Lumubog ang Araw. He also wrote short stories including “Deo,” “Ang Beterano,” “Ang
Idolo,” and “Kapulungan ng mga Pinagpala.” In 1979, the Ateneo de Manila University
awarded Francisco the tanglaw ng Lahi Award for his works.
BIENVENIDO LUMBERA
1932
Bienvenido Lumbera is an award winning poet, librettist, and scholar. He has
published numerous literary and creative works including Likhang Dila, Likhang
Diwa(1993); Balaybay: Mga Tulang Lunot at Manibalang (2002); Sa sariling Bayan:
Apat na Dulang May Musika (2004); and “Agunyas sa Hacienda Luisita,” Pakikiramay
(2004). His scholarly work in the field of literary history and criticism are foundational
texts in Philippine colleges and universities: Tagalog Poetry, 1570-1898: Tradition and
Influences in Its Development; Philippine Literature: A History and Anthology;
Reevaluation: Essays on Philippine Literature; and Writing the nation/Pag-akda ng
Bansa.
CIRILO F. BAUTISTA
1941
Cirilo Bautista is a highly praised poet, fictionist and essayist. He is also a
Palanca Hall of Famer, winning countless awards and honors, including the National
Book Awards, Gawad Jose Corazon de Jesus, and Gawad CCP para sa Sining. In
1998, Bautista was named winner of the Philippine Centennial Prize for Epic poetry.
He works include The Trilogy of Saint lazarus (2001); Believe and Betray: New and
Collected Poems (2006); Galaw ng Asoge (2004); The House of True Desire: Essays
about Life and Literature, (2011); and Things happen: Poems 2012 (2014). Bautista
is also an academician and a scholar and has taught for more than 30 years.
Page 98
Region
I. OBJECTIVES
regions.
regions.
CAR11/12CAP-Oc-e-5
Knowledge Identify notable artists in the field of FILM.
Skills Explain the notable achievements of these Filipino
artists.
Attitude Show cooperation in the group activity.
II. CONTENT 1. National Artists in FILM
pp. 61-67.
Other Learning resources https://prezi.com/bxol6ztansyo/national-artists-for-films/
IV. PROCEDURES
A. Preparation Without the brilliance and talents of the people behind
the art, filmmaking will not be made possible. Let’s
discover who are our artists in the fast-paced world of
cinema.
B. Motivational Question Who loves to watch movies?
What is your favorite movie and why?
Who is your favorite actor/actress? Why?
C. Activity Activity 1 – “Know Me”
Determine the movie or the actor/actress of the

following known lines.
1. “Am I not enough? Pangit ba ako? Kapalit-palit
ba ako?...Then why?
ANS: Mt Ex and Whys/Liza Soberano
2. “Kasi ang totoo, umaasa pa rin akong sabihin
mo: Sana ako pa rin. Ako na lang. Akon a
lang ulit.” ANS: Bea Alonzo/One More Chance
3. “Huwag mo akong mahalin dahil mahal kita.
Mahalin mo ako dahil mahal mo ako because
Page 99
that is what I deserve.”
ANS: Barcelona, A Love Untold/Kathryn
Bernardo
4. “Gusto kong sabihin na okay lang ang lahat. Na
hindi ako nasaktan. Kaso magsisinungaling ako
sa sarili kasi ang saki-sakit.”
ANS: Nadine Lustri/Para sa Hopeless
Romantic
5. “Kung hindi kayo meant to be, ‘wag nyong
pilitin. Goodbye. Move on. Let go. Gano’n.
ANS: Walang Forver/Jennylyn Mercado
D. Analysis 1. Were you able to answer all?

2. What helped you have correct answers?
3. Based on those famous lines, what art form, are
we talking about?

LECTURE DISCUSSION
The class will be divided into 6 groups. Each

group will present the Filipino artists assigned to
them.
True or False
Direction: Each group will be provided with a happy
and sad emoticons. If the statement is TRUE, a
happy emoticon will be raised. If the statement is
FALSE, a sad emoticon will be raised.
1. Lamberto V. Avellana was encouraged by
Manuel L. Quezon to try his hand at directing
films. ANS: False/Carlos P. Romulo
2. President Corazon Aquino named Avellana as
the very First National Artist in the Philippines
for film. ANS: False/Pres. Marcos
3. Avellana received Best Director of Asia award in
Tokyo. ANS: True
4. Gerardo de Leon holds the sole distinction of
being the most awarded film director in the
history of FAMAS. ANS: True
5. A documentary entitled “Signed: Lino Brocka”
won the 1988 Film Award at the Berlin
International Film Festival. ABS: True
6. Lino Brocka is called. ANS: False/
Ishmael Bernal
7. Ishmael Bernal won the Urian for Best Director
Page 100
four times. ANS: True
8. Fernando Poe Jr. garnered the most Best Actor
awards at FAMAS. ANS: True
9. Fernando Poe Jr. lost against Cory Aquino in
2004 presidential election. ANS: False/Arroyo
10. Manuel Conde put up his own movie company
called Manuel Conde Pictures. Ans: True
6. Practical Applications of Present Your Own

Concepts and Skills in Daily
Living If you are going to produce a movie, would be the title
and its theme?
7. Generalization It is but rightful that our National Artists be given honor
because they showcased Filipino excellence in the arts
and made it in the international scene, underscoring the
wealth of talent and heritage in our country.
8. Evaluation Note: Activity # 3 will serve as evaluation.
application or remediation Read Film Development Council Of the Philippines-
(assignment) Sineng Pambansa
(http://fdcp.ph/contents/view?id=Sineng Pambansa
V. REMARKS
VI. REFLECTION

did these works?
solve?
wish to share
Page 101
FIRST SEMESTER
FIRST QUARTER
Session 16
Topic: National Artists in the field of Film
Without the brilliance and talents of the people behind the art,
filmmaking will not be made possible. Let’s discover who are our artists
in the fast-paced world of cinema.
1. Who loves to watch movies?

2. What is your favorite movie and why?
3. Who is your favorite actor/actress?
4. Why?
Activity 1 – KNOW ME?

Determine the movie or the actor/actress of the following known
lines.
1. “Am I not enough? Pangit baa ko? Kapalit-palit ba ako?
then, why?” - My Ex and Whys / Liza Soberano
2. “Kasi ang totoo, umaasa pa rin akong sabihin mo: Sana ako
pa rin. Akon a lang. Akon a lang ulit.” – Bea Alonzo / One
More Chance.
3. “Huwag mo akong mahalin dahil mahal kita. Mahalin moa
ko dahil mahal moa ko because that is what I deserve.” –
Barcelona, A Love Untold / Kathryn Bernardo
4. “Gusto kong sabihin na okay lang ang lahat. Na hindi ako
nasaktan. Kaso mag-sisinungaling ako sa sarili ko kasi ang
sakit-sakit” – Nadine Lustri/ Para sa Hopelessly Romantic
5. “Kung hindi kayo mean to be, wag niyo pilitin. Goodbye.
Move on. Let Go. Ganon” – Walang Forever / Jennylyn
Mercado.
Page 102
Based on those famous lines, under what form are we talking about?
The class will be divided into six groups. Each group will present the
Filipino Artist assigned to them.
(See attachment)
ACTIVITY 3 –TRUE OR FALSE

Each group will be provided with a happy and sad emoticon.
If the statement is true, a happy emoticon will be raised. If the
statement is false, a sad emoticon will be raised.
1. Lamberto V. Avellona was encouraged by Manuel L. Quezon to try

his hand at directing films. – False / Carlos P. Romulo
2. President Cory Aquino named Avellana as the very first National
Artist of the Philippines for films. – False / President Marcos.
3. Avellana received Best Director of Asia awarding Tokyo – True.
4. Gerardo de Leon holds the sole distinction of being the most
awarded film director in the history of FAMAS. – True
5. A documentary entitled Signed: Lino Brocka won the 1988 Peace
Film Award at the Berlin International Film Festival. – True
6. Lino Brocka is called “the genius of Philippine cinema,” – False /
Ishmael Bernal
7. Ishmael Bernal won the Urian for Best Director four times – True.
8. Fernando Poe Jr. garnered the most Best Actor awards at Famas
– True.
9. Fernando Poe Jr. lost against Cory Aquino 2004 Presidential
election. – False / Arroyo.
10. Manuel Conde put up his own movie company called Manuel
Conde Pictures – True.
Page 103
ACTIVITY 4 – PRESENT YOU OWN
If you are going to produce a movie, what would be the title and its
theme?
It is but rightful that our National Artists be given honor because they
showcased Filipino excellence in the arts and made it in the
international scene, underscoring the wealth of talent and heritage in
our country.
Activity 3 will serve as evaluation

Read Film Development Council of the Philippines- Sineng Pambansa
(http://fdcp.ph/contents/view?id=Sineng Pambansa)
Page 104
ATTACHMENTS
NATIONAL ARTISTS FOR FILM
LINO BROCKA
1939-1991
The contribution of Lino Brocka to Philippine cinema is unparalleled, with 66 films that,
“breathed life and hope for the marginalized sectors of society,” according to NCCA.
Awarded the National Artist for Cinema in 1997, Lino Brocka has harvested countless
awards and recognitions here and abroad for his films that are “a bounty of stunning
images, memorable conversations that speak volumes on love, betrayal and
redemption, pestilence and plenty all pointing towards the recovery and rediscovery of
our nation.”
In 1975, he directed the movie Maynila sa mga Kuko ng Liwanag. The said
film is considered as one of the classics of Filipino cinema. His other films include
Wanted Perfect Mother (1970), Tinimbang Ka Ngunit Kulang (1974), Insiang (1976),
Jaguar (1979), Bona (1980), macho Dancer (1988), Ora Pro Nobis (Fight for Us
(1989), and Gumapang Ka sa Lusak (1990).
ISHMAEL BERNAL
1938-1996
Awarded the National Artist for Film in 2001, Ishmael Bernal is considered to
be one of the pillars of Philippine cinema. In 1982, Bernal directed the critically
acclaimed Himala starring Nora Aunor, the country’s most popular celebrity at that
time. Many critics consider Himala as one of the greatest Filipino films of all time
because of its provocative and courageous depictions that has served “as social
commentaries and bold reflections on the existing realities of the struggle of the
Filipino.”
Bernal’s contribution to Philippine cinema is both liberating and aesthetic as he

pushes the artistry. According to the NCCA, “polishing it visuals, or innovating in the
medium, he manages to send his message across: to fight the censors, free the artists,
give justice to the oppressed, and enlighten as well as entertain the audience.”
Some of his other famous works include the films Dalawang Pugad, Isang Ibon
(Two Nests, One Bird, 1977), Lagi Na Lamang Ba Akong Babae? (Will I Always be a
Woman?, 1978), Isang Gabi sa Iyo, Isang Gabi sa Akin (A Night With You, A Night
With Me, 1978), Ikaw Ay Akin (You’re Mine, 1979), and Menor de Edad (Underage,
1979).
GERARDO “GERRY” DE LEON

1913-1981
National Artists for Film Gerardo de Leon holds the sole distinction as the most
awarded film director in the country for the prestigious Filipino Academy of Movie Arts
and Sciences (FAMAS) Awards, the country’s equivalent to the Oscars. De Leon
Page 105
finished medicine but not practice it to answer a calling in cinema. Ama’t Anak was
his directorial debut, but De Leon’s baptism in Philippine cinema royalty was in the film
Ang Maestra starring Rosa del Rosario and Rogelio de la Rosa.
De Leon also popularized the following films: Sawa sa Lumang Simboryo, Noli
Me Tangere, Sisa, Dyesebel, The Gold Bikini, Banaue, and The Brides of Blood Island.
FERNANDO POE JR.

1939-2004
Fernando Poe Jr. (also known as “Da King” or FPJ) has been given the title
the king of the Philippine movies. He is one of the most admired Filipino film actors of
all time. He is famous for his role as Flavio in the mythical Ang Panday series. He
also starred in other famous films such as Apollo Robles (1961), Batang Maynila
(Manila Boy, 1962), Mga Alabok sa Lupa (Dust In The land,1967, Ako Ang Katarungan
(I Am Justice, 1974), Tatak ng Alipin (Mark of a Slave, 1975), Totoy Bato (1977),
Asedillo (1971), and Partida (Party, 1985).
FPJ is not only an exceptional actor; he is also a film producer and politician
as well. In 2004, he ran an unsuccessful bid for the presidential election.
Subsequently, his political rival, former President Gloria Macapagal-Arroyo, declared
him a National Artist for Film in 2006.
EDDIE S. ROMERO
1924-2013
National Artist for Film Eddie Romero’s works, as cited, “are delivered in an
utterly simple style – minimalist, but never empty, always calculated, precise and
functional, but never predictable.” Romero’s presence in Philippine cinema is one that
is “devoted to the art and commerce of cinema.” Perhaps his most recognized work,
Ganito Kami Noon…Paano Kayo Ngayon? Is Romero’s love letter to his country, as
it tried to portray the common Filipino in the backdrop of history and imagination.
Another classic by Romero is Kamakalawa, a film that probed into indigenous
precolonial Philippines. He is also responsible for bringing an on-screen adaptation of
Jose Rizal’s Noli Me Tangere in a 13-part series. The list of his films also includes
Aguila, Hari sa Hari, Lahi sa Lahi, Isumpa Mo Giliw, and Faces of Love.
Page 106
Region
I. OBJECTIVES
regions.
regions.
CAR11/12CAP-Oc-e-5
Knowledge Identify notable artists in the field of ARCHITECTURE
Skills Enumerate the architectural structures created by these
artists.
Attitude Show cooperation in the group activity.
II. CONTENT 1. National Artists in Architecture
2. Their Famous Works
pp. 53-60.
Other Learning resources https://www.united-architects.org>about
IV. PROCEDURES
A. Preparation Philippine national artists in architecture are also
considered heroes. Let’s get to know them a bit closer.
B. Motivational Question Who do you think have brilliant minds behind majestic
structures that we have in the Philippines?
1. Show pictures of known architectural structures in
the Philippines.
2. Give quick description of each.
(See attachment)
D. Analysis 1. Do you find the pictures interesting?
2. Do you know of other iconic architectural
structures in our country?
3. What do you think have influenced the
architectural designs made by our artists?

LECTURE DISCUSSION
Using a PowerPoint presentation, the teacher will
Page 107
present the National Artists in Architecture. Their
notable achievements will also be identified.
• Group students into 5.
• Each group will be assigned with an artist.
Group 1 Jose Maria Zaragosa
Group 2 Juan F. Nakpil
Group 3 Leandro V. Locsin
Group 4 Pablo S. Antonio
Group 5 Ildefonso P. Santos, Jr.
• The group will identify the name of the artist,
enumerate his famous works, and sing it to the tune
of any local song.
6. Practical Applications of Given the chance to realize your dream house, who
Concepts and Skills in Daily among the National Artists for Architecture will you ask
Living for help and why?
7. Generalization From the humble Bahay Kubo to the towering
skycrapers in the city, the high-level craftsmanship of
Filipino architects are truly to be admired. Our national
artists in architecture are just some of the most
dedicated and talented architects that Filipinos can be
proud of. Their brilliant contemporary designs truly
represent the country’s history, culture, and
environment.
8. Evaluation Note: Activity # 3 will serve as evaluation.
application or remediation Visit http://ncca.gov.ph/for some helpful readings and
(assignment) information on the National Artists for Architecture.
V. REMARKS
VI. REFLECTION

did these work?
Page 108
solve?
wish to share
Page 109
FIRST SEMESTER
FIRST QUARTER
Session 17
Topic: National Artists in the field of Architecture
Philippine national artists in architecture are also considered heroes.

Let’s get to know them a bit closer.
1. Who do you think have brilliant minds behind majestic structures

that we have in the Philippines?
ACTIVITY 1: “PICTURE PROMPT”

1. Show pictures of known architectural structures in the Philippines.
2. Give quick description of each.
(See attachment)
1. Do you find the pictures interesting?

2. Do you know of other iconic architectural structures in our
country?
3. What do you think have influenced the architectural designs
made by our artists?
Page 110
1. Using a PowerPoint presentation, the teacher will present the
2. National Artists in Architecture. Their notable achievements will
also be identified.
(See Attachment)
ACTIVITY 3 – TO APPLY THE CONCEPT

• Group students into 5.
• Each group will be assigned with an artist.
o Group 1 Jose Maria Zaragosa
o Group 2 Juan F. Nakpil
o Group 3 Leandro V. Locsin
o Group 4 Pablo S. Antonio
o Group 5 Ildefonso P. Santos, Jr.
The group will identify the name of the artist, enumerate his
famous works, and sing it to the tune of any local song.

DAILY LIVING
ACTIVITY 4 – SENTENCE COMPLETION

Given the chance to realize your dream house, who among the National
Artists for Architecture will you ask for help and why?
From the humble Bahay Kubo to the towering skyscrapers in the cit,
the high-level craftsmanship of Filipino architects is truly to be admired.
Our national artists in architecture are just some of the most dedicated
and talented architects that Filipinos can be proud of. Their brilliant
contemporary designs truly represent the country’s history, culture,
and environment.
Page 111
Activity #3 will serve as evaluation.

Visit http://ncca.gov.ph/for some helpful readings and information on
the National Artists for Architecture.
Page 112
ATTACHMENTS
1. UNIVERSITY OF SANTO TOMAS - MAIN BUILDING
Designed by a Spanish priest-civil engineer Rev. Fr. Roque Ruaño in 1920 to

1923, the main building of the Philippine’s oldest university, located along Espana
Boulevard, is also the first earthquake resistant building in the country. The design was
fine-tuned after the lessons learned from the Great Kantō earthquake that flattened
Tokyo and Yokohama in September 1, 1923.
2. UNIVERSITY OF THE PHILIPPINES DILIMAN – QUEZON HALL
Designed by Juan Nakpil, the first architect to receive the National Artist award in
1973, Quezon Hall houses the administrative offices of the university located in
Page 113
Diliman, Quezon City. Constructed in the 1950s, the building sports an eclectic style,
combining different styles into one structure. The same style is used for the university’s
main library, also designed by Nakpil.
3. NICANOR REYES HALL – FAR EASTERN UNIVERSITY COMPLEX
Considered the largest body of work done in Art Deco style in Manila, the Nicanor
Reyes Hall is part of the five buildings in the FEU complex designed by Pablo Antonio.
Antonio is the second architect to receive the National Artist award in 1976, a year
after his death. In 2005, the five Art Deco-style buildings earned a citation from the
United Nations Educational, Scientific, and Cultural Organization (UNESCO) for the
Asia-Pacific Heritage Award for Cultural Heritage.
4. PHILIPPINE INTERNATIONAL CONVENTION CENTER
An example of the massive, fortress-style Brutalist architecture, the Philippine

International Convention Center (PICC) is a brainchild of Leandro Locsin, one of the
greatest master architects that the Philippines has produced. For a state-of-the-art
Page 114
structure, the PICC was surprisingly completed within only 23 months from 1974 to
1976. It has hosted foreign and local conventions, including the annual Awards Night
of the Filipino Academy of Movie Arts and Sciences (FAMAS).
5. NATIONAL THEATER – CULTURAL CENTER OF THE

PHILIPPINES COMPLEX
The National Theater or Tanghalang Pambansa, formerly the Theater of

Performing Arts, is the CCP’s flagship venue and houses its principal offices. Like the
PICC, the theater is only a part of the CCP complex, a sprawling 88-hectare
government owned structure.
The National Theater’s design is another work by Leandro Locsin and carries his
signature style of the “floating volume,” which combines a heavy use of concrete with
elevated structures. The result is a startling contrast of a massive looking structure
that seemingly floats.
6. TANGHALANG MARIANG MAKILING – NATIONAL ARTS CENTER
Part of the National Arts Center, the Tanghalang Mariang Makiling is a

performance and arts venue of Philippine High School for the Arts’ students and other
Page 115
artists. This is another master work by Leandro Locsin who radically adapted the nipa
hut design for this piece.
7. SAN MIGUEL CORPORATION BUILDING
Designed by the Mañosa brothers (Manuel, Francisco, and Jose), the San Miguel
Corporation Building in Ortigas serves as the head office of one of the largest
corporations in the Philippines. The building’s unique design is inspired by the Banaue
rice terraces. Landscaping is done by the National Artist for Architecture in 2006,
Ildefonso Santos, who is considered the father of Philippine landscape architecture.
8. PEARL FARM BEACH RESORT
Located in Samal island of Davao City, the Pearl Farm Beach Resort is built on
what was once a farm for culturing pearls. A handiwork of Francisco Mañosa who was
a strong advocate of indigenous architecture, the resort’s design was adapted from
the traditional stilt houses built along the coastline. In 2009, Mañosa received the
National Artist award for architecture.
Page 116
9. PHILAM LIFE BUILDING – MANILA
Built in 1961, the building is designed by Carlos Arguelles in the International

Style, with its emphasis on rectilinear forms and plane surfaces stripped of
ornamentation. Arguelles was also the architect behind the Manila Pavilion Hotel and
Casino (formerly Manila Hilton) and the Development Bank of the Philippines Building
in Makati.
A well-loved landmark not only for its design, the Philam Life Building houses an
auditorium that has long served as a venue for music and performance productions.
The insurance company itself had moved its head office to the Net Lima building in
Bonifaco Global City last year.
10. PROSCENIUM
One of the most awaited pre-selling projects by Rockwell Land,

the Proscenium is designed by Carlos Ott, the Uruguayan architect renowned for his
design of L’Opéra de la Bastille, a modern theater icon in Paris. A sweeping structure
of steel and glass, the Proscenium is built around a cultural plaza comprised of a multi-
purpose hall, fine arts museum, book museum, and art galleries. Turnovers for the
individual towers of the project are expected to be from 2017 to 2019.
Page 117
NATIONAL ARTISTS FOR ARCHITECTURE
PABLO S. ANTONIO
1901-1975
Pablo S. Antonio is one of the leaders in modern Philippine architecture. His works
are simple and functional. Most of his designs used clean and smooth lines. If he
used curves, these were made integral to the structure. Moreover, Antonio’s forms
maximized that use of natural light and cross ventilation. Some of his famous projects
include the far Eastern University Administration and Science buildings, Manila Polo
Club, Ideal Theater, Lyric Theater, Galaxy Theater, Capitan Luis Gonzaga Building.
White Cross Orphanage, Boulevard-Alhambra (now Bel-Air) apartments, and Ramon
Roces Publications Building (now the Guzman Institute of Electronics).
LEANDRO V. LOCSIN
1928-1994
Are you familiar with the Istana Nurul Iman? It is the palace of the Sultan of Brunei
which has a floor area of almost 2.2 million square feet. Leandro Locsin is the visionary
behind this majestic structure. He also has changed the city with his distinguishing
architecture reflective of Philippine art and culture. His sstyle of floating volume, and
the duality of light and heavy is unparalleled with other artists.
With the span of 30 years, Locsin has produced 75 residences and 88 buildings, which
include 11 churches and chapels, 23 public buildings, 48 commercial buildings, six
major hotels, and aan airport terminal building. The CCP Complex with all five
buildings-the Cutural Center of the Philippines, The Folk Arts Theater, the Philippine
International Convention Center, the Phil-CITE, and the Westin Hotel are all credited
to Locsin’s unequaled talent.
JUAN F. NAKPIL
1899-1986
Juan Nakpil is another famous Filipino architect that you should be proud of.. He had
a strong faith ain the Filipino architect, with the “belief that there is such a thing as
Philippine Architecture, espousing architecture reflective of Philippine traditions and
culture.” He designed the 1937 International Eucharistic Congress altar and
reconstructed the Quiapo Church in 1930. The additional dome and second belfry can
be credited to this brilliant artist.
Nakpil is also known as the artistic mind behind the Geronimo de los Reyes Building,
Magsaysay Building, Rizal Theater, Capitol Theater, Captain Pepe Building, Manila
Jockey Club, Rufino Building, Philippine Village Hotel, University of the Philippines
Administration Building (Quezon Hall) and University Library (Gonzales hall), and the
reconstructed Rizal Shrine in Calamba, Laguna.
Page 118
ILDEFONSO P. SANTOS JR.
1929-2014
Ildefonso Paez Santos Jr. is one of the most recognized landscape architects in the
country. Landscape architecture enhances outdoor public spaces, landmarks, and
structures by contouring the environment. He grew up in Malabon, and his first
contribution in the industry can be found in the busy streets of Makati. If you visit the
Makati Commercial Center, the concept of outdoor shopping with landscaped walks,
fountains, and sculptures as accents is the product of Santos’s clever ideas. Some of
his famous works include the prominent landscapes in Paco Park, Tagaytay Highlands
Resort, the Mt. Malarayat Golf and Country Club in Lipa, Batangas, and Orchard Golf
and Country Club in Imus, Cavite.
JOSE MARIA ZARAGOZA

1912-1994
Jose Maria Zaragoza is an architecture graduate from the University of Santo Tomas.
He is the country’s 82nd licensed architect. The head of the National Committee on
Architecture and Allied Arts of the NCCA, Gerard Lico, Lauds Zaragoza’s works to
have “advanced the progressive ideas of modernism in rebuilding the Philippines from
the ashes of war in the mid-20th century.” His works include St. John Bosco Parish in
Makati City, Santo Domingo Church in Quezon City, National Shrine of the Miraculous
Medal, Meralco Building, Greenhills Shopping Center, and the restructuring of the
Quiapo Church interior.
Page 119
Region
I. OBJECTIVES
regions.
regions.
Learning Competencies Evaluates contemporary art forms based on the
elements and principles.
CAR11/12CAP-Oc-e-6
Knowledge Evaluate contemporary art forms based on elements
and principles.
Skills Describe each contemporary art form based on
elements and principles.
Attitude Holds appreciation of the contemporary art form.
II. CONTENT Evaluating Art Forms Based on Elements and Principles
p. 117.
Other Learning resources https://www.slideshare.net/JoemMagante/contemporary-
art-.elements-principles
IV. PROCEDURES
A. Preparation How do we evaluate contemporary art forms?
B. Motivational Question Have you tried becoming a judge in a contest? What is
the basis of your judgment?
C. Activity Activity 1 – Picture Analysis
(Please attachment)
D. Analysis 1. Are the artworks beautiful?
2. What makes the artworks beautiful?
3. What is the basis of your judgment?

LECTURE DISCUSSION
1. Discussion on the elements/principles of

contemporary art as basis for evaluation.
2. Use power point presentation to facilitate
learning.
Page 120
REPORTING
• Divide the class into 5 groups. Each group will be
given a picture/artwork that follow the
element/principle of contemporary art.
Group 1 Space
Group 2 Appropriation
Group 3 Performance
Group 4 Hybridity
Group 5 Technology
• Use this format in reporting
1) Element/Principle : ____________________
2) Name of Artwork: ____________________
3) Name of Artist: ____________________
4) What makes this artwork contemporary?
_____________________________________
5) How does this artwork reflect the lives of people
today?
6. Practical Applications of “Sa Atin Lang”
Concepts and Skills in Daily Pick one contemporary artwork in your locality and
Living evaluate how the elements/principles are applied.
(Example: music, poetry, ornament, folk architecture,
performing arts, carving, graphics, plastic arts)
7. Generalization The elements/principles of contemporary art forms are
space, appropriation, performance, hybridity, and
technology. Contemporary art forms are evaluated
using these elements/principles to make them more
relevant in the field of art.
8. Evaluation Note: ASctivity #4 “Sa Atin Lang” serves as evaluation.
application or remediation Create your art work then present it to the class.
(assignment) Explain how the elements/principles are applied in your
work.
V. REMARKS
VI. REFLECTION

Page 121
did these work?
solve?
wish to share
Page 122
FIRST SEMESTER
FIRST QUARTER
Session 18
Topic: Evaluating Art Forms Based on Elements and Principles
How do we evaluate contemporary art forms?
Have you tried becoming a judge in a contest? What is the basis of your
judgment?
ACTIVITY 1 – PICTURE ANALYSIS
(See attachment)
1. Are the artworks beautiful?

2. What makes the artworks beautiful?
3. What is the basis of your judgment?
1. Discussion on the elements/principles of contemporary art as basis for

evaluation.
2. Use power point presentation to facilitate learning.
Page 123
• Divide the class into 5 groups. Each group will be given a picture/artwork that
follow the element/principle of contemporary art.
Group 1 Space
Group 3 Performance
Group 4 Hybridity
Group 5 Technology
• Use this format in reporting
1) Element/Principle: ____________________
2) Name of Artwork: ____________________
3) Name of Artist: ____________________
4) What makes this artwork contemporary? ___________
5) How does this artwork reflect the lives of people today?
PRACTICAL APPLICATIONS OF CONCEPTS AND SKILLS IN DAILY

LIVING
ACTIVITY 4 – “SA ATIN LANG”

Pick one contemporary artwork in your locality and evaluate how the
elements/principles are applied.
(Example: music, poetry, ornament, folk architecture, performing arts,
carving, graphics, plastic arts)
The elements/principles of contemporary art forms are space, appropriation,

performance, hybridity, and technology. Contemporary art forms are evaluated
using these elements/principles to make them more relevant in the field of art.
Page 124
Activity #4 “Sa Atin Lang” serves as evaluation

1. Create your artwork then present it to the class.
2. Explain how the elements/principles are applied in your work.
Page 125
ATTACHMENTS
PICTURE ANALYSIS
1.
2.
Page 126
3.
4.
Page 127
ELEMENTS AND PRINCIPLES OF EVALUATING ARTWORKS
Page 128
Appropriation in art is the use of pre-existing objects or images with little or no
transformation applied to them. The use of appropriation has played a significant role
in the history of the arts. In the visual arts, to appropriate means to properly adopt,
borrow, or recycle. Notable in this respect are the Ready-mades of Marcel Duchamp.
L.H.O.O.Q. is a cheap postcard reproduction of Leonardo da Vinci’s Mona Lisa onto
which Duchamp drew a moustache and beard in pencil. The masculinized female
introduces the theme of gender reversal, which was popular with Duchamp, who
adopted his own female pseudonym. La Joconde instantly became his most famous
readymade and a symbol for the international Dada movement, which rebelled against
everything that art represented, particularly the appeal to tradition and beauty.
Page 129
Left: Robert Colesscott, Les Demoiselles d’Alabama, 1985
Right: Pablo Picasso, Les Demoiselles d’Avignon, 1907
The concepts of originality and of authorship are central to the debate of appropriation
in contemporary art. Above we see a contemporary example of appropriation, a
painting which borrows its narrative and composition from the infamous Les
Demoiselles d’Avignon by Picasso. Here Colesscott has developed Picasso’s
abstraction and ‘Africanism’ in line with European influences. Colescott has made this
famous image his own, in terms of color and content, while still making his inspiration
clear. The historical reference to Picasso is there, but this is undeniably the artist’s
own work.
Performance refers to artwork created by or presented to an audience. Performance

as an element can also include the processes used by the artist to create the work.
This takes place when the process used to create the artwork is more important than
the finished work Itself.
Page 130
Basic Art Element — Space
Space is one of the basic elements of art. It refers to the distance between or
the area around and within shapes, forms, colors and lines. Space can be
positive or negative. It includes the background, foreground and middle ground.
Both positive and negative space can play important roles in the overall
success of a work of art. By understanding the difference between the two, you
will:
1. Become better at designing unified compositions.
2. Be more successful in visually communicating your story.
3. Gain important clues about the meaning of an art piece.
Page 131
Artists use hybridity in their work through the blending of new or unusual materials with
traditional mediums. The incorporation of these materials, such as recycled or
industrial materials, plays an important role in the meaning of the artwork.
ATTACHMENT FOR APPLICATION PART
Group 1 Space
Page 132
GRADE: 11 Subject: Contemporary Philippine Arts for the
Region
I. OBJECTIVES
regions.
Standard Creates avenues to advocate the arts from the different
regions.
Learning Compares forms of arts from the different regions.
Competencies CAR11/12CAP-Oc-e-7
Knowledge Describe folk architecture from the different regions.
Skills State the differences of folk architecture from the
different regions.
Attitude Demonstrate cooperation in the execution of activities.
II. CONTENT Folk Architecture
References Source:
https://www.slideshare.net/chocolatelover02/t
raditional-folk-arts-in-the-Philippines
Other Learning https://www.ktb.gov.tr/EN-98763/folk-architecture.html
resources
IV. PROCEDURES
A. Preparation Let’s find out how houses differ in regions?
B. Motivational Do you dream to have a house of your own?
Question How would you design your dream house?
(See attachment)
D. Analysis As each picture is presented, ask the following
questions?
1. What is the house made up of?
2. Where do you think this house is seen?
3. In your opinion, why do you think the house is
designed this way?

LECTURE DISCUSSION
The teacher uses powerpoint to discuss the following:

1. What is folk architecture?
2. Examples of folk architecture
Page 133
a. Bahay Kubo
b. Bale or Ifugao House
c. Ivatan House in Batanes
d. Torogan or Maranao’s House
e. Badjao’s Stilt House
3. Descriptions of each
• Accomplish the Comparison Matrix
• Use a whole sheet of intermediate pad paper.
Items Bahay Ifugao Ivatan Maranao’s Badjao’s Similarities and

To Compare Kubo House House House House Differences
Location
Natural
Environment
Materials
Used
6. Practical Sentence Completion

Applications of 1. An important lesson I learned today is
Concepts and Skills _____________________________________________ .
in Daily Living 2. I can apply this in life when
___________________________________________ .
7. Generalization Man complements with nature. Right from the very

earliest times, man has built shelters for himself and
will continue to build in the future. These houses are
the most important sources of information regarding
cultural structures.
8. Evaluation Note: Activity 2 will serve as evaluation.
9. Additional activities ACTIVITY 6 - EXTEND YOUR KNOWLEDGE
for application or Let students design their dream house with technical
remediation descriptions.
(assignment)
V. REMARKS
VI. REFLECTION
No. of learners who

earned 80% in the
Page 134
evaluation
No. of learners who
continue to require
remediation
Did the remedial
lesson work? No. of
learners who have
No. of learners who
continue to require
remediation
Which of my
teaching strategies
worked well? Why
did these work?
encounter which
principal and
supervisor can help
or solve?
What innovation or
localized did I
wish to share
Page 135
FIRST SEMESTER
FIRST QUARTER
Session 19
Topic: Folk Architecture
Let’s find out how houses differ in regions?
Do you dream to have a house of your own?

How would you design your dream house?
ACTIVITY 1 – PICTURE PROMPT

(See attachment)
As each picture is presented, ask the following questions?

1. What is the house made up of?
2. Where do you think this house is seen?
3. In your opinion, why do you think the house is
designed this way?
The teacher uses PowerPoint to discuss the following:

1. What is folk architecture?
2. Examples of folk architecture
a. Bahay Kubo
Page 136
b. Bale or Ifugao House
c. Ivatan House in Batanes
d. Torogan or Maranao’s House
e. Badjao’s Stilt House
3. Descriptions of each

• Accomplish the Comparison Matrix
• Use a whole sheet of intermediate pad paper.
Items Bahay Ifugao Ivatan Maranao’s Badjao’s Similarities and
To Compare Kubo House House House House Differences
Location
Natural
Environment
Materials Used

LIVING
SENTENCE COMPLETION
1. An important lesson I learned today is _____________________________ .
2. I can apply this in life when _________________________________________ .
Man complements with nature. Right from the very earliest times, man
has built shelters for himself and will continue to build in the future.
These houses are the most important sources of information regarding
cultural structures.
Page 137
Activity 2 will serve as evaluation

Let students design their dream house with technical descriptions.
Page 138
ATTACHMENTS
Pic # 1
Pic # 2
Pic #3
Page 139
Attachment for Abstraction
Folk architecture is the living environment people have created for themselves. We
can define local architecture as an architecture formed in the process of anonymous
design which later becomes traditional under the influence of various factors.
Local architecture is one of the most important sources of information to allow us to
understand and explain the ideas, views, traditions, customs and belief systems,
family and relationships and neighborhood relations of a community.
Official and monumental buildings are considered independent of local architecture.
However, such buildings as baths, fountains, coffee houses, etc. are also included
within the framework of local architecture in Turkey.
To examine local architecture, one must start with the natural and social environment
and the construction materials and techniques of local architecture.
• Economic structure,
• Lifestyle,
• Standards of judgment
• Relations within the Family and with Relatives,
• Effects of customs, local rules, traditions and beliefs on
Architectural elements all need to be considered in the context of local architecture.

Local architecture has no monumental purpose; in other words, structures are not
built for the purpose of leaving a deliberate trace behind them. Typical construction
materials from the region in question are used in local architecture. Therefore, similar
buildings can be seen in places which have similar regional conditions and geological
structures. The buildings that make up local architecture are built by their owners or
local artisans. Generally Speaking, Local architecture has an anonymous structure.
Thus, local architecture is also called “Anonymous Architecture.”
A folklorist will look at a house within the framework of these criteria:
• The natural environment where it is constructed,
• Functions,
• Equipment, tools and construction materials used,
• Construction technique,
• Common practice and belief in the surrounding area.
Page 140
Page 141
Page 142
Page 143
Grade: 11 Subject: Contemporary Philippine Arts for
the Region
I. OBJECTIVES
Understanding of the significant roles of artists
from the regions.
different regions.
Learning Competencies Interprets and relates the significance of art
forms
from the regions.
CAR11/12CAP-Oc-e-8
Knowledge Interpret the message conveyed by a piece of
art form.
Skills Explain the message of a piece of art form.
Attitude Demonstrate cooperation in a group activity.
II. CONTENT Interpretation of art form
References Source: sites.psu.edu/sica/wp-
content/uploads/sites
6763/2013/10/Barrett-cu8Principles for
Interpreting
Art_2003.pdp
Other Learning resources https://www.youtube.com/watch?v=QP0hMjiLw
p8
IV. PROCEDURES
A. Preparation Get started in knowing how to interpret the work
of art!
B. Motivational How is a form of art interpreted?
Question How significant is an art work in a particular
region?
C. Activity Activity 1 – Watch Me
Note: A video clip of a dancing handicapped)
https://www.youtube.com/watch?v=QP0hMjiLwp8
D. Analysis Ask the questions below.
1. Do you like the video clip? Why?
2. What do you think does the video clip
suggest?
LECTURE DISCUSSION
Page 144
The teacher uses powerpoint to discuss the
principles of interpreting an artwork
1. The class will be divided into 7 groups.
2. Explain the following group tasks:
3. Assign a picture to each group.
GROUP 1 – Weaving Art
GROUP 2 – Carving
GROUP 3 - Performing Arts
GROUP 4 - Plastic Arts
GROUP 5 – Ornament
GROUP 6 – Textile or Fiber Art
GROUP 7 – Pottery
4. Guide questions to accomplish the task
• What do you feel about this piece of
artwork?
• What is especially satisfying?
• What do you find frustrating?
• What does this piece of work remind you
of?
• What is the message conveyed in this piece
of work?
5. Group reporting
5. Practical Applications of The teacher will emphasize this statement to

Concepts and Skills in allow students to reflect.
Daily Living “Every work of art has a message. Learn to
appreciate.”
6. Generalization Good interpretation leads to better experiences
of works of
arts. That is why multiple interpretations of art
works are
desirable. Whatever they are, though not
always right, so
long as they are reasonable, convincing,
informative, and
enlightening, they are acceptable.
application or remediation Using student’s reflection notebook, instruct
(assignment) them to write their reflection on the significant
learning they gain from interpreting
a work of art.
Page 145
V. REMARKS
VI. REFLECTION

No. of learners who
continue to require
remediation
No. of learners who
continue to require
remediation
strategies worked well?
Why did these work?
solve?
wish to share
Page 146
FIRST SEMESTER
FIRST QUARTER
Session 20 - 21
Topic: Interpretation of Art Form
Get started in knowing how to interpret the work of art!
How is a form of art interpreted?

How significant is an artwork in a region?
ACTIVITY 1 - WATCH ME
A video clip of a dancing handicapped
https://www.youtube.com/watch?v=QP0hMjiLwp8
Ask the questions below.

1. Do you like the video clip? Why?
2. What do you think does the video clip suggest?
The teacher uses PowerPoint to discuss the principles of interpreting

an artwork
Page 147
1. The class will be divided into 7 groups.
2. Explain the following group tasks:
3. Assign a picture to each group.
• GROUP 1 – Weaving Art
• GROUP 2 – Carving
• GROUP 3 – Performing Arts
• GROUP 4 – Plastic Arts
• GROUP 5 – Ornament
• GROUP 6 – Textile or Fiber Art
• GROUP 7 – Pottery
4. Guide questions to accomplish the task
• What do you feel about this piece of artwork?
• What is especially satisfying?
• What do you find frustrating?
• What does this piece of work remind you of?
• What is the message conveyed in this piece of work?
5. Group reporting
PRACTICAL APPLICATIONS OF CONCEPTS AND

SKILLS IN DAILY LIVING

The teacher will emphasize this statement to allow students to
reflect.
“Every work of art has a message. Learn to appreciate.”
Page 148
Good interpretation leads to better experiences of works of
arts. That is why multiple interpretations of art works are
desirable. Whatever they are, though not always right, so
long as they are reasonable, convincing, informative, and
enlightening, they are acceptable.
Activity 3 will serve as evaluation.

Using student’s reflection notebook, instruct them to write their
reflection on the significant learning they gain from interpreting a
work of art.
Page 149
ATTACHMENTS
PRINCIPLES FOR INTERPRETING ART
This chapter offers further explanation and a summation of what interpretation

is, with some guiding principles for how one might go about interpreting a work of art,
an item within visual culture, or anything that can be treated as a "text." The emphasis
of the book, of course, is on visual things rather than literary or musical things, but the
principles of interpretation are sufficiently broad that they should cover any humanly
made item or text. The principles offered here are eclectically compiled from scholars
of art and literature and philosophy of knowing. The principles constitute a set, but a
loose set that can be expanded or contracted. The set is meant to be noncontradictory.
All the principles are asserted as reasonable, but not all reasonable people concerned
with matters of interpretation will agree with all of them as a set or even with any one
of them. When a principle is particularly contentious, the chapter provides fair
opposition to it and reasons for acceptance of it. All of the principles are open to
revision and none of them are meant to be read dogmatically. These principles are
offered to help guide any interpreter of any artistic object or event. They may well
provide direction for any and all interpretive endeavors, not just making meaning of
artworks; but interpretation in realms other than the artistic are beyond the chosen
scope of this book. The principles are meant to provide some security and stability as
a foundation for the insecurity, the riskiness and exhilaration, of trying to make
meaning of artistic objects and events that seem to shift as we gaze at them and
change as we reflect upon them. If I follow these principles, I will be able to be confident
that my interpretive efforts are in a right direction and a right spirit. One may also use
the principles as methodological ways to begin and continue constructing an
interpretation of, for example, a painting, a dance, or a poem. Any single one of the
principles will set one on one's way toward a meaningful encounter with a work of art.
To apply all principles to every interpretive situation would likely be beneficial

but prohibitively exhausting, except in cases of very serious pursuit. In some
interpretive discussions and for some works of art, it's likely that the reader will find
some principles more pertinent than others in the set.
To provide an overview of the chapter, here is, first, the complete set of principles.
Explanations of each follow.
• Artworks are always about something.
• Subject matter + Medium + Form + Context = Meaning
• To interpret a work of art is to understand it in language. Feelings are guides to
interpretation.
• The critical activities of describing, analyzing, interpreting, judging, and theorizing
about works of art are interrelated and interdependent.
• Artworks attract multiple interpretations and it is not the goal of interpretation to arrive
at single, grand, unified, composite interpretations. There is a range of interpretations
any artwork will allow.
• Meanings of artworks are not limited to what their artists intended them to mean.
Page 150
• Interpretations are not so much right, but are reasonable, convincing, informative,
and enlightening.
• Interpretations imply a worldview.
• Good interpretations tell more about the artwork than they tell about the interpreter.
• The objects of interpretation are artworks, not artists.
• All art is in part about the world in which it emerged. • All art is in part about other
art.
• Good interpretations have coherence, correspondence, and inclusiveness. •
Interpreting art is an endeavor that is both individual and communal. • Some
interpretations are better than others.
• The admissibility of an interpretation is ultimately determined by a community of
interpreters and the community is self-correcting.
• Good interpretations invite us to see for ourselves and continue on our own.
ARTWORKS ARE ALWAYS ABOUT SOMETHING.
A work of art is an expressive object made by a person and, unlike a tree or a

rock, for example, it is always about something. Thus, unlike trees and rocks, artworks
call for interpretations. This is not to say that rocks and trees cannot be interpreted.
Geologists and botanists have much to tell us interpretively about rocks and trees.
Poets and philosophers and theologians have much to say about rocks and trees. But
rocks and trees are things, and artworks of rocks and trees are objects about these
things, things about things.
Artworks are different kinds of things. Arthur Danto, a contemporary

philosopher and art critic, names, as an essential characteristic of artworks,
"aboutness. " That artworks are necessarily about something is the cornerstone of
Danto's philosophy of art.' Since they are about something, they must be interpreted.
This book is significantly influenced by Danto's theory of art, as well that of

Nelson Goodman (see below). Noel Carroll, a contemporary aesthetician, summarizes
Danto's theory as containing five major propositions, namely, that a work of art (l) is
about something, (2) projects a point of view, (3) projects this point of view by rhetorical
means, and ( 4) requires interpretation and that (5) the work and interpretation require
an art-historical context. 2 Nelson Goodman is a philosopher who has expended much
thought on artistic versions of the world.' In his view, there are many good versions of
the world, linguistic and visual, scientific and artistic. Art has important cognitive value.
Goodman values works of artists as well as the contributions of scientists because
both science and art present us with views of the world that provide us with powerful
insights, valuable information, and new knowledge.
However, art provides insights, information, and knowledge only if we interpret

works of art. Carroll contends that it is a standard characteristic of artworks "that they
often come with features that are unusual, puzzling, initially mysterious or
disconcerting, or with features whose portents are far from obvious. "4 This is not a
problem to be dreaded when facing artworks, but a challenge to be enjoyed. If we want
Page 151
the obvious, we probably ought to look to things other than artworks. Artworks require
a tolerance for ambiguity.
Since artworks are rarely obvious, they need to be interpreted to be

understood. Even when artworks seem obvious at first glance, they can be revealed
to be much more complex than we first thought, especially if we ask some of the
interpretive questions offered in this book. For example, an Elvis-on-velvet painting
sold on a street corner might require no interpretation to make sense of it, but that
Elvis painting will become much more interesting if we ask some questions of it, such
as What is it a part of? Within what tradition does it belong? What needs does it
relieve? What pleasures or satisfactions did it afford the persons responsible for it?
Does it change my view of the world?
Subject matter + Medium + Form + Context = Meaning

This principle is a formula for constructing meaning about works of art: subject
matter + medium + form + context = meaning. It can serve as a definition of
interpretation and it can also be used as a guiding methodology for interpreting works
of art. Subject matter is the recognizable stuff in a work of art: persons, places, things,
and so forth. Not all artworks have subject matter: much abstract art, for example,
purposefully omits subject matter. Subject matter is not the same as subject: the
subject matter of a painting may be boats in a harbor, but the subject may be
tranquility. Subject is synonymous with topic, theme, or aboutness. Subject is a subset
of meaning. Medium is the material out of which an artwork is made oil paint or marble,
for example. Media are often mixed in a single work of art: elephant dung, glitter, map
pins, and oil paint, for example. Form refers to compositional decisions the artist has
made in making and presenting a work of art: namely, how it is composed; how it uses
formal elements such as line and texture and color; how it organizes space so that
something is dominant and other things are subordinate. Although not all art has
subject matter, all art has form. Context refers to the artwork's causal environment,
that is, what was historically present to the artist at the time the artwork was made. All
art has a social context in which it emerged. Meaning refers to interpretations that we
construct about a work of art to make it understandable to us and to others. All artworks
can be interpreted and can be shown to have meaning. The term content, in this book,
is synonymous with meaning. All works of art have content, including, for example,
minimalist abstract paintings like those made by_ Sean Scully as shown in chapter
four. Although some authors differentiate between form and content, this book does
not: it is in agreement with Nelson Goodman that the distinction between form and
content is dubious. All art has content, and all content must be interpreted to arrive at
meaning. In abstract and Formalist works of art, the form of the artwork is the content
to be interpreted and the form conveys its meaning. In works with recognizable subject
matter, how that subject matter is selected and formed and contextualized constitutes
the content of the work and conveys its meaning. The term content is used in too
narrow a way when authors use content to refer only to social and political content. All
works of art have content and that content must be interpreted to arrive at meaning.
TO INTERPRET A WORK OF ART IS TO UNDERSTAND IT IN LANGUAGE

To interpret is to respond in thoughts and feelings and actions to what we see
and experience, and to make sense of our responses by putting them into words.
Page 152
When we look at a work of art, we might think thoughts and notice feelings, move
closer to the work and back from it, squint and frown, laugh or sigh or cry, blurt out
something to someone or to no one. Our initial responses to a work of art are usually
inchoate, incipient, beginning rumblings of undistinguished emotions and vague
thoughts. If we make the effort and can successfully transform these initial thoughts
and feelings into articulated thoughts and identified feelings with language, we have
an initial interpretation.
To interpret a work of art is to make sense of it. To interpret is to see something

as "representing something, or expressing something, or being about something, or
being a response to something, or belonging in a certain tradition, or exhibiting certain
formal features, etc. "
It is to ask and answer questions such as What is this object or event that I
see or hear or otherwise sense? What is it about? What does it represent or express?
What does or did it mean to its maker? "What is it a part of? "7 Does it represent
something? What are its references? What is it responding to? Why did it come to be?
How was it made? Within what tradition does it belong? "What ends did a given work
possibly serve its maker(s) or patron(s)? What pleasures or satisfactions did it afford
the person(s) responsible for it? What problems did it solve or allay? What needs did
it relieve?"8 What does it mean to me? Does it affect my life? Does it change my view
of the world?
FEELINGS ARE GUIDES TO INTERPRETATION

Emotions play a central role in interpreting works of art and in understanding
the world. About emotions in life, Goodman writes, "In daily life, classification of things
by feeling is often more vital than classification by other properties: we are likely to be
better off if we are skilled in fearing, wanting, braving, or distrusting the right things,
animate or inanimate, than if we perceive only their shapes, sizes, weights, etc. " About
emotions in interpreting art, Goodman writes, "The work of art is apprehended through
the feelings as well as through the senses. Emotional numbness disables here as
definitely if not as completely as blindness and deafness.
Emotion in aesthetic experience is a means of discerning what properties a

work has and expresses. "' 7 Israel Scheffler, a philosopher who writes about
education and art and is a proponent of Goodman's theory of art, offers elaboration on
how the emotions are intimately tied to our perception of the world.
Emotions help us to construct a vision of the world and to define the critical
features of that world: Emotions help us to see the environment in a certain light.
Emotions tell us whether it is "beneficial or harmful, promising or threatening, fulfilling
or thwarting." The role of the emotions in reading the world applies to interpreting
works of art: "Reading our feelings and reading the work are, in general, virtually
inseparable processes." In his writing, Scheffler works to destroy false dichotomies
between thinking and feeling emotions are in the service of critical inquiry; emotions
undergird the life of reason: "Emotion without cogniti~:m is blind, cognition without
emotion is vacuous."
Page 153
THE CRITICAL ACTIVITIES OF DESCRIBING. ANALYZING. INTERPRETING.
JUDGING. AND THEORIZING ABOUT WORKS OF ART ARE INTERRELATED
AND INTERDEPENDENT
When learning to engage in criticism of a work of art, it is sometimes useful to
distinguish among the acts of describing (telling what one sees), interpreting (telling
what one thinks it means), judging the work of art (telling how good one thinks it is),
and theorizing about the work (telling what counts as art, for example).
Some authors further distinguish between describing and analyzing, by which

they seem to mean that to describe is to identify subject matter and to analyze is to
identify formal characteristics. Some authors prescribe methods for criticizing a work
of art, such as this method: first describe, then and only then analyze, then and only
then interpret, then and only then judge, and do not theorize about the nature of art
because the role of theory is not addressed in this method.
This and other methods might be helpful in some teaching and learning
situations, but there are dangers in reducing the complex activities of responding to
art to simple step-by-step methods or in believing that description can be meaningfully
distinguished from interpretation, description from judgment, theory from
interpretation, and so forth.
What one sees and how one describes are highly dependent on how one
understands: descriptive facts are dependent on interpretive theory. If one judges a
work of art negatively, then one is likely to describe it in negative terms, and how one
understands a work of art is highly dependent on how one values it. Recall, in chapter
three, how often viewers could not separate acts of interpreting from acts of judging
when looking at art made by Kara Walker and Michael Ray Charles.
When viewers who were quoted in the chapter interpreted the work of these
two artists as reinforcing racism, they judged it as art that is detrimental to society and
therefore not good. When viewers react to a work of art very negatively, they are not
likely to interpret it at all. Or, when viewers are unable to interpret a work of art, they
may walk away from it feeling negative about it. Describing, analyzing, interpreting,
judging, and theorizing about works of art are interrelated and interdependent and
should not be separated too simplistically.
ARTWORKS ATTRACT MULTIPLE INTERPRETATIONS AND IT IS NOT THE

GOAL OF INTERPRETATION TO ARRIVE AT SINGLE. GRAND. UNIFIED.
COMPOSITE INTERPRETATIONS
The view here is that the aim of interpretation is not to obtain the single, right
interpretation. There are some theorists who would disagree: E. D. Hirsch, for
example, believes that there are singular meanings of works of art, namely what the
artists intended them to mean.
This book, however, along with other theorists such as Marcia Eaton, Michael
Krausz , joseph Margolis, and Stephen Davies/ 1 holds that there can be more than
one admissible interpretation and that it is desirable to have different interpretations.
Differing interpretations of the same work of art stand alongside each other and can
Page 154
attract our attention to different features of the same work. One interpretation shows
us this aspect of the work of art, while another shows us that aspect. If we only had
one interpretation, we would miss the insights that other interpretations provide. A
most compelling example of the power of this principle is Shakespeare's Hamlet.
Consider all the books written by literary scholars that Hamlet has inspired. Morris
Weitz, an aesthetician writing about fifty years ago, chose Hamlet criticism as the
paradigm of literary criticism with which he could enlighten us about all of art criticism.
Weitz read and analyzed the many books of Hamlet criticism written up to that time,
seeing, in part, how each interpretation was different and similar. He found, among
other things, that different interpreters asked and answered different interpretive
questions about Hamlet, including its textual, dramatic, theatrical, and intellectual
sources; Hamlet's relation to other plays; the audience; and the Elizabethan view of
man, God, philosophy, politics, tragedy, passion, and ghosts. More succinctly,
interpreters of Hamlet seek to identify "the causal environment" of the play, or its
context.
THERE IS A RANGE OF INTERPRETATIONS ANY ARTWORK WILL ALLOW

Artworks ought not to be treated as if they were Rorschach inkblots, with
interpreters seeing in them anything they want to see. A particular work of art is what
it is because it is embedded in a particular culture, time, and social practice, and it is
made with some human intent that can usually be recognized by examining the work
itself. Thus, interpretations of a work of art ought to be consistent with the artistic
conventions and intentions of the time at which the work was made. Davies, the
aesthetician, states, "Interpretations are never indifferent to truth. "25 There is a fear
about interpretation that is sometimes expressed as a fear of "overinterpretation," a
fear of reading too much into a work of art or of beating the work to death through too
much analysis and interpretation. Art students, in particular, can be heard to express
this fear, especially when it is the art that they made that is being interpreted or in their
view overinterpreted. Scholars also recognize a fear of overinterpreting. jonathan
Culler, a literary scholar, in particular, addresses the concern and tries to alleviate it.
Culler imagines that overinterpretation might be like overeating: "there is proper eating
or interpreting, but some people don't stop when they should. They go on eating or
interpreting in excess, with bad results. " Although Culler acknowledges the fear, he is
more fearful of "underinterpretation. "
MEANINGS OF ARTWORKS ARE NOT LIMITED TO WHAT THEIR ARTISTS

INTENDED THEM TO MEAN
Knowing what an artist meant to mean when making a work of art can be a
tremendous aid to understanding that work of art. Artists' intents can play a significant
role for interpreters who want to formulate meanings about artists' works. Some artists
are very articulate and insightful about what they do, how they do it, why, what it means
to them, and what they would like it to mean to us. Leonardo da Vinci's and Paul Klee's
journals, Edward Weston's diarist writings in his Daybooks about his life in
photography,Z9 Agnes Martin's personal notes and essays about her contemporary
and very subtle paintings,'" artists' public manifestos, and their private letters are all
rich resources for understanding the work of these artists and artistic sensibilities in
general.
Page 155
INTERPRETATIONS ARE NOT SO MUCH RIGHT. BUT ARE MORE OR LESS
REASONABLE, CONVINCING, INFORMATIVE, AND ENLIGHTENING
If one were to agree with the belief that there is a single, right interpretation of
a work of art, then one would likely also believe that interpreters ought to strive for that
single, right interpretation. This book, however, does not hold a belief in either the
possibility or the desirability of single, right interpretations. Instead it advocates
multiple interpretations. It agrees with aestheticians such as Margolis and Krausz, who
argue that such a "singularist approach" is a mistaken view of cultural objects and
interpretive practices. That is, artworks are not the kind of things that yield simple and
single interpretations; and interpreters of artworks are not the kind of responding
individuals who are looking for simple, single meanings. Barzman, the art historian,
also cautions against the notion of a single, right interpretation: "Given that we come
to objects and their texts as a plurality of subjects (with respect to race, ethnicity,
gender, sexual orientation, age), can any of us really serve as arbiters of truth for
reading audiences, which are heterogeneous communities of individuals? If we accept
multiple interpretations, then, are some right and some wrong? This principle answers
that interpretations are not so much right, certainly not absolutely and definitively right,
but that interpretations are reasonable, convincing, informative, enlightening,
persuasive, fresh, profound, well or not so well argued. Conversely, interpretations can
be "unpersuasive or redundant or irrelevant or boring.
INTERPRETATIONS IMPLY A WORLDVIEW

Interpretations imply a wor!dview: There is no innocent eye. In Nelson
Goodman's words, with an acknowledgment to the scholarship of Ernst Gombrich "as
Ernst Gombrich insists, there is no innocent eye. The eye comes always ancient to its
work obsessed by its past and by old and new insinuations of the ear, nose, tongue,
fingers, heart, and brain. It functions not as an instrument self-powered and alone, but
as a dutiful member of a complex and capricious organism. Not only how but what it
sees is regulated by need and prejudice. It selects, rejects, organizes, discriminates,
associates, classifies, analyzes, constructs. It does not so much mirror as take and
make; and what it takes and makes it sees not bare, as items without attributes, but
as things, as food, as people, as enemies, as starts, as weapons. "50 We all move
through the world with a more or less articulated set of assumptions about existence,
and it is through these that we interpret everything, including works of art. Some
viewers interpret art on the basis of less articulated theories. Others have more finely
articulated and consistent worldviews, based on study of philosophy, psychology,
anthropology, and other disciplines. Through these worldviews they interpret works of
art. Interpreters may operate on the basis of semiotic theory, for example, or offer neo-
Freudian readings of all works of art they encounter.
GOOD INTERPRETATIONS TELL MORE ABOUT THE ARTWORK THAN THEY

TELL ABOUT THE INTERPRETER
Good interpretations must clearly pertain to the work of art. All interpretations
reveal the interpreter, but the interpreter's primary challenge is to direct the viewer to
better perceive and understand the artwork that is being interpreted. If one cannot
relate the interpretation to the work of art being interpreted, the interpretation may be
too subjective. That is, it may inform us about the interpreter, but it may fail to enlighten
the work of art and, hence, is not a good interpretation. Preference statements, for
Page 156
example, usually tell us about the speaker rather than about the topic in question. We
hear many preferences about works of art: "I like it. " "I don't like it. " These preference
statements, however, do not provide information about the artworks and ought to be
considered, not statements of art criticism, but personal psychological reports by the
speaker. Oftentimes critics tell about themselves, particularly, for example, when they
tell about their emotional reactions to a work of art. It is the critic's task, however, to re
late the personal information being offered to the artwork that is being interpreted so
that we are enlightened about the artwork, not only about the interpreter.
THE OBJECTS OF INTERPRETATION ARE ARTWORKS. NOT ARTISTS

In some conversations and writings about art, it is artists who are interpreted
rather than the artworks that they have made: "Kara Walker is an angry woman." "Chris
Ofili's just trying to shock us. " In critical discourse, however, it should be the art objects
that are interpreted, not the persons who made them. We want to be reading works of
art and not be engaged in mind-reading. This principle mitigates against name-calling
and blaming when faced with artworks that we might find offensive. The principle
redirects our attention to the art in question, not the supposed motives of the art maker,
which are difficult, at best, to determine. The principle may also divert attention from
the artist and back to the work and, perhaps, to what it is in us that makes us react the
way we do to a particular work of art. If we focus on the artist rather than the work or
ourselves, we are missing opportunities to better understand the work of art and our
reactions to it. This principle does not exclude the gathering of biographical information
about an artist. Oftentimes interpreters provide biographical information that usefully
informs their interpretations. Such biographical information can be used to provide
insight into the work that is being interpreted. Biographical information reminds us that
art does not emerge apart from a social environment. There is a caution, however, that
concerns what might be termed "biographical determinism. " It is an error of logic to
move from a fact of an artist's biography to certainty about what the artist's work of art
might mean. Artists should not be locked into their biographic pasts, nor should one
argue that if someone is of this race or that gender or this historical background, then
their art must be about such factors.
ALL ART IS IN PART ABOUT THE WORLD IN WHICH IT EMERGED

Donald Kuspit, contemporary art critic and aesthetician, reinforces this
principle when discussing his decision to include psychoanalysis in his interpretation
of works of art: "I began to feel that the artist is not exempt from life. There is no way
out from seeing art as a reflection or meditation or a comment on life. I became
interested in the process, including the artist's life. I became interested in how art
reflected life issues, or existential issues with which we are all involved. "52 The
paintings that Magritte made (chapter one) emerged from a world of World Wars,
Freudian psychoanalysis, and Einstein's theory of relativity. The paintings and
illustrations made by Norman Rockwell (chapter three) are inseparable from the social
and political world of the United States in the years that Rockwell worked. Eric Fischl
(chapter three) draws upon his childhood experiences in a dysfunctional alco holic
family for the paintings he makes as an adult. The Temple Dharna Vihara in Ranakpur
(chapter five) is the physical form of metaphysical beliefs of the jains. Photographs
(chapter six), because they are made by capturing light reflected from real-world
objects, are intrinsically dependent on the physical world.
Page 157
ALL ART IS IN PART ABOUT OTHER ART
Interpreters state over and over again who influenced a particular artist and on
whose art the artist's work may be commenting. Art does not emerge within an
aesthetic vacuum. Artists are generally aware of the work of other artists and often
they are especially aware of the work of certain artists. Even untrained artists are
aware of and influenced by the visual representations in their societies. This principle
asserts that all art can be interpreted with respect to how it is influenced by other art.
Art can be about life, about art, or both. An important guide to interpreting any art is to
see how it relates to or indirectly comments upon other art, both "popular" and "fine. "
Artists are usually aware of both the artists who preceded them and those they are
contemporary with. Artists, like all of us, are also immersed in an inescapable visual
culture that influences them consciously and unconsciously. In the words of art
historian David Carrier, "The man we call Caravaggio developed his artistic style by
means of a complex dialogue within the very rich inheritance of Italian painting." 54
Sean Scully, for example (chapter four) , acknowledges that if you put the work of
Henri Matisse, Piet Mondrian, and Mark Rothko together, you get a good idea of what
Scully's work is about. Willem de Kooning is quoted (chapter four) as stating that his
Women paintings "had to do with the female painted through the ages." The fine art
paintings that Michael Ray Charles makes (chapter three) are dependent on images
circulating in mass visual culture: without knowing about racist images of blacks in
visual culture, Charles's paintings will be misinterpreted and misunderstood.
GOOD INTERPRETATIONS HAVE COHERENCE. CORRESPONDENCE. AND

INCLUSIVENESS
The merit of any interpretation can be judged by the use of three criteria:
coherence, correspondence, and inclusiveness. Coherence is an internal and
autonomous criterion, correspondence is an external and dependent criterion, and
inclusiveness looks both at the work itself and its causal environment. The criterion of
coherence asks that an interpretation make sense in itself. Apart from the artwork, the
interpretation is a good story or a compelling account of a matter or an intriguing idea
or notion. Coherence is an autonomous criterion in that it simply asks that the
interpretation make sense in itself and apart from the work of art. One could judge if
an interpretation were coherent without even seeing the work of art it was meant to
interpret: the interpretation makes sense, or it doesn't. The criterion asks that the
interpretation be logical, that its premises lead to a conclusion, that it has a certain
elegance and efficiency of explanation. These things can be decided by looking at the
interpretation and ignoring the artwork of which it is an interpretation. Of course, a
good story or a good account of a work of art that does not match the actual work of
art that is being interpreted is not a good interpretation of that work. It may be a good
story, but it is not a good interpretation of the painting. Other criteria are necessary:
the criterion of correspondence is one of them.
Page 158
INTERPRETING ART IS AN ENDEAVOR THAT IS BOTH INDIVIDUAL AND
COMMUNAL
We can think of acts of interpreting as having two poles, one personal and
individual, and the other communal and shared. An individual and personal
interpretation is one that has meaning to me and for my life. I may have formulated it
for myself or received it from another and accepted it or modified it. A communal and
shared interpretation is an understanding or explanation of a work of art that is held by
a group of individuals with shared interests. Communal understandings are passed on
to us as common knowledge in history of art textbooks and in standard introductory
art and art history lectures. Some aestheticians position themselves closer to personal
interpretations than to communal understandings.
In the phenomenological tradition, specifically in European phenomenological

hermeneutics, Hans-Georg Gadamer and Paul Ricoeur, for example, believe that all
interpretation necessitates an act of appropriation: "All interpretation involves of
necessity an act of appropriation in which the object of interpretation is made one's
own through the reader's endeavor to make sense of the text in the light of her personal
experience. For Gadamer and Ricoeur the purpose of interpretation is to make the
artwork "one's own.
SOME INTERPRETATIONS ARE BETTER THAN OTHERS
Many of the preceding principles clearly imply that some interpretations are
better than others; this principle states so explicitly. If one were able to sit in on a studio
critique in which students were discussing the artworks other students had made, or
to overhear discussions in introductory aesthetics classes, one would likely hear
beliefs something like the following from one or many of the students: whatever one
says about a work of art is as good as what anyone else says; all responses to art are
subjective; all subjects responding to art are equal in their abilities to respond to art;
everyone has equal rights to their opinions; it is just talk about art, and all matters
pertaining to art are subjective anyway. Stated another way, there is a belief in
American society that whatever anyone says about art is as good as what
anyone else says, because all matters of art are matters of opinion and we are all
entitled to our opinions. The principle I state here offsets what seems to be too
common an acceptance of relativism, especially in American society, regarding what
one can say about works of art. This principle and this book agree that many matters
of art are matters of opinion but go on to assert that statements about works of art can
be more than mere opinions, they can be informed opinions. Some interpretations are
better than other
THE ADMISSIBILITY OF AN INTERPRETATION IS ULTIMATELY DETERMINED

BY A COMMUNITY OF INTERPRETERS AND THE COMMUNITY IS SELF-
CORRECTING
This is an optimistic view of the art world and scholarship that holds that artists,
critics, historians, and other serious interpreters will eventually correct less-than
Page 159
adequate interpretations and will eventually put forth better interpretations. This
happens in the short run and in the long run. In the short run, interpretations might be
very nearsighted. This principle asserts that eventually these narrow interpretations
will be broadened. Essays in exhibition catalogues, for example, are often
compilations by scholarly interpreters of the best thinking about an artist's work to that
point in time. Such compilations put forth the most informative interpretations available
at the time and omit less informative ones.
GOOD INTERPRETATIONS INVITE US TO SEE FOR OURSELVES AND

CONTINUE ON OUR OWN
In general, good interpretations lead us to better experiences of works of art

than we would have had without those interpretations. In the words of aesthetician
Marcia Eaton, good interpretations usually "bring us to see things we would have
missed if left on our own. " She goes on to say that interpreters invite us to look at
things and "provoke us to continue on our own to view the work. "This book,
throughout, accepts the premise that multiple interpretations of works of art are more
desirable than single interpretations. This book, throughout, encourages its readers to
continue to build their own interpretations of works of art, interpretations that both
make sense in themselves and have meaning for those building the interpretations.
Page 160
the Region
I. OBJECTIVES
Understanding of the significant roles of artists
from the regions.
different regions.
Learning Competencies Promotes arts from the regions.
CAR11/12CAP-Oc-e-9
Knowledge Explain why flyers are important in marketing.
Skills Create a flyer to promote artworks in your
locality,
province or region.
Attitude Show interest in promoting artworks through
creating a flyer.
II. CONTENT Promoting artworks through a flyer
References https://www.wetravel.com/stories/why-flyers-are-
important-in-marketing/
Other Learning resources Youtube.com/watch?v=FWc5Q94CXIA
IV. PROCEDURES
A. Preparation It’s not enough to produce art. We need to
promote
it extensively too. But how?
B. Motivational Question As a Filipino, how can we promote artworks
from our locality, province or region?
C. Activity Activity 1 – Watch Me
( Note: A video clip from WOW Philippines)
https://www.youtube.com/watch?v=FWc5Q94CXI
A
D. Analysis Ask the following questions:
1. What are the handicraft items you saw
in the video?
2. Which items are present in your locality,
province or region?
3. Can you name of other artworks not
seen on the
video but present in your locality,
province or region?
4. How would you help promote these
Page 161
artworks?
LECTURE DISCUSSION
• The teacher uses powerpoint to discuss

reasons why flyers
are important in marketing.
• A sample flyer will be provided to
students to serve as guide in making
their own.
In pairs, students will make a flyer
promoting handicraft items
Present in their locality, province or region.
7. Practical Applications of Let students reflect on this quote,

Concepts and Skills in Daily “It is not what we get. But who we become
Living what we contribute...that gives meaning to
our lives.” –Anthony Robbins
8. Generalization The more you promote your products, the more
will the
Customers know about it, and the more they
will be
Interested in it.
application or remediation Allow your ICT teacher to see your flyer to
(assignment) enhance your
Output.
V. REMARKS
VI. REFLECTION

Page 162
did these work?
solve?
wish to share
Page 163
FIRST SEMESTER
FIRST QUARTER
Session 22
Topic: Promoting Artworks through a Flyer
It’s not enough to produce art. We need to promote it extensively too.

But how?
As a Filipino, how can we promote artworks from our locality, province

or region?
ACTIVITY 1 – WATCH ME
(Note: A video clip from WOW Philippines)
https://www.youtube.com/watch?v=FWc5Q94CXIA
https://www.youtube.com/watch?v=FWc5Q94CXIA
Ask the following questions:

1. What are the handicraft items you saw in the video?
2. Which items are present in your locality?
province or region?
3. Can you name of other artworks not seen on the video but
present in your locality, province or region?
4. How would you help promote these artworks?
Page 164
• The teacher uses PowerPoint to discuss reasons why flyers

are important in marketing.
• A sample flyer will be provided to students to serve as guide in
making their own.

In pairs, students will make a flyer promoting handicraft items
Present in their locality, province or region.
PRACTICAL APPLICATIONS OF CONCEPTS AND SKILLS IN DAILY LIVING
Let students reflect on this quote,

“It is not what we get. But who we become what we contribute...that gives
meaning to our lives” – Anthony Robbins
The more you promote your products, the more will the
Customers know about it, and the more they will be Interested in it.
Activity 3 will serve as evaluation.

Allow your ICT teacher to see your flyer to enhance your output.
Page 165
ATTACHMENTS
5 REASONS WHY FLYERS ARE (STILL) IMPORTANT IN MARKETING
Think flyers are old fashioned? Think again! Flyers are important in marketing.
While we might live in an age of high-tech advertising, the humble flyer is still a priceless
promotion tool.
There’s a reason why we have been using the same advertising technique for
centuries. Flyers work! Whether you’re a yoga teacher, trip organizer or entrepreneur,
flyers are an effective way to get your message across. Considering printing your own?
Here are a few reasons why flyers are important in marketing.
WHY FLYERS ARE IMPORTANT IN MARKETING
1. IT’S A LOW-COST OPTION

Flyers are extremely cost effective. Rather than overhauling your website,
paying for advertising space or venturing into the expensive world of offline media,
flyers have an incredibly high return on investment.
No idea how to create an effective flyer? Get help! Professionally designed flyers are
cheaper than you might think, and it costs pennies to have them printed.
2. IT’S LOW EFFORT, BUT HIGH IMPACT

It’s easy to get flyers into potential customers’ hands. Planning a yoga retreat?
Hand out flyers to yoga students or just hang up a flyer in the locker room. Potential
participants who get your flyer might pin it on their fridges. This encourages promotion
within smaller circles of family and friends.
Spend some time thinking about where your audience spends their time then
get moving! You’ll be surprised at how many cafés, stores, gyms, restaurants, schools
and other businesses are happy to help you connect with potential customers. Ask
popular local spots to post one of your flyers then just sit back and wait for the magic
to happen.
Designing an eye-catching and compelling flyer requires a certain level of

planning. Be sure to sit down with a colleague to brainstorm ideas on what a good flyer
will look like. Aim to create what is known as a straw-man design. This is a rough outline
of what your flyer should look like and what marketing copy it should contain.
Take this strawman to a designer who can then hash out a more polished final design
which can then be taken to printers. If you are on a tight budget, you may able to take
your strawman design directly to certain printers who will be able to assist you designing
a final piece existing templates they have. Then get printing and once the flyers are
ready start handing them out.
Page 166
3. PEOPLE LOVE TANGIBLE THINGS
Customers like to have something that they can put their hands on. We get
inundated with online advertising every day but it’s pretty rare to come across a high
quality, printed flyer.
Aim to stand out from the crowd. You don’t want your flyer to look like junk mail. opt for
the highest quality paper than you can fit into your budget. Go for a professionally
designed flyer rather than a quick DIY job.
4. FLYERS CREATE A PERSONAL TOUCH

Not only are flyers tangible, they add a personal touch to your message.
Physically handing your potential customer a flyer will immediately create a personal
relationship with them.
Convincing someone to tuck your flyer into their bag or pocket means they are
going to look at it again later. Even if they decide not to for it, they’ll still give the flyer a
second thought. That’s a lot more than you can say for more expensive one-time
advertisements.
5. IT’S EYE CATCHING ADVERTISING

Flyers are still important in the world of advertising because people actually read
them. When you have a ton of advertisements cluttering up a website, it’s very possible
to have potential customers overlook your ad even if it’s well done. And, let’s not even
get started on ad blockers!
Page 167
the Region
I. OBJECTIVES
Shows understanding of the materials and
techniques.
Discriminates among various materials and
techniques.
Learning Competencies Researches on techniques and performance
practices
Applied to contemporary arts.
CAR11/12CAP-Oc-e-10
Knowledge Explain how traditions become contemporary
through
Recycling of materials.
Skills Make a campaign poster to save mother earth
by recycling
Waste materials.
Attitude Initiate care of the environment through
recycling.
II. CONTENT Different Contemporary Art Techniques and
Performance Practices: Local materials applied
to
contemporary art
References Contemporary Philippine Arts from the Regions
pp 159-160)
DIWA
IV. PROCEDURES
A. Preparation Let’s find out how disposals can still be
reusable!
B. Motivational Question Do you appreciate artworks made of recycled
materials?
(See attachment for the Pictures)
1. What are in the pictures?
2. What kind of materials do artists use in
their artwork?
3. What do the pictures suggest?
Page 168
LECTURE DISCUSSION
1. Characteristics of Contemporary Art

Practices
• Changes to accepted tradition and
accepted taste
• Understanding of a multiplicity of
viewpoint
• Issues and Ideas about the role of
objects in
Space and relationships between
objects
• Use of everyday materials
• Employment of contemporary
technology
In groups of 5, students will think about

common
waste material found in the household that
can be
recycled. Explain how to transform it into a
beautiful
art work using their wild imagination.
6. Practical Applications of Let students discuss how important is

Concepts and Skills in Daily recycling in
Living the present time.
7. Generalization Contemporary artists incorporate everyday
materials
into their work of art for one important
purpose to save
the environment.
8. Evaluation Using the same groupings, students will
make a
campaign poster on how to help save the
environment through recycling.
(Note: Rubrics for grading is attached.)
application or remediation
(assignment) Let students read about reduce, reuse and
Page 169
recycle of everyday materials.
V. REMARKS
VI. REFLECTION

did these work?
solve?
wish to share
Page 170
FIRST SEMESTER
SECOND QUARTER
Session 23
Topic: Different Contemporary Art Techniques and Performance Practices
Let’s find out how disposals can still be reusable!
Do you appreciate artworks made of recycled materials?

(See attachment for the pictures)

1. What are in the pictures?
2. What kind of materials do artists use in their artwork?
3. What do the pictures suggest?
1. Characteristics of Contemporary Art Practices

• Changes to accepted tradition and accepted taste
• Understanding of a multiplicity of viewpoint
• Issues and Ideas about the role of objects in
Space and relationships between objects
• Use of everyday materials
Page 171
In groups of 5, students will think about common waste material found

in the household that can be recycled. Explain how to transform it into
a beautiful artwork using their wild imagination.
ACTIVITY 4 – DISCUSSION
Let students discuss how important is recycling in the present time.
Contemporary artists incorporate everyday materials into their work

of art for one important purpose to save the environment.
Using the same groupings, students will make a

campaign poster on how to help save the environment through
recycling.

Let students read about reduce, reuse and recycle of everyday
materials.
Page 172
ATTACHMENTS
FOR PICTURE PROMPT
Page 173
Page 174
ATTACHMENT FOR DISCUSSION
Contemporary art, unlike traditional art, is an active [part of society as it represents

and mediates social conditions with human aspirations. According to Michelle Watts,
an art educator, the following are the characteristics of contemporary art practices:
1. Changes to Accepted Tradition and Accepted taste

Contemporary arts try to challenge age-old practices that hinder
personal growth and development. For contemporary artists, art should not be
bound by traditional approaches in the creation of art. Many visual artists are
now expanding their expression by using mixed media from unlikely materials.
Contemporary artists are also not afraid to create art that goes against personal
beliefs and public taste.
2. Understanding of a Multiplicity of Viewpoints

Contemporary art bridges the gap of geography, ethnicity, gender, and
beliefs. Contemporary artists are conscious of the diverse multicultural nature
of today’s global society. The artworks that they create are not anymore
ignorant of the complexities of history, politics and economics. Artists are
becoming more exposed to the interconnectedness of people and realities, and
these become part of their work.
3. Issues and ideas about the Role of Objects in Space and

relationships between Objects
Contemporary art works with existing objects or structures to maintain
balance and harmony. Space has become an integral part of the contemporary
artist’s practice. No longer are contemporary art works limited to museums
and galleries. Public spaces are now considered by contemporary artists in
the display and installation of their art works.
4. Use of Everyday Materials

Contemporary art transforms simple objects and brings them to life.
Everyday objects such as furniture, car parts, electronics, and kitchen
appliances are being transformed by contemporary artists into beautiful art
works. Recycle art has become a trend for contemporary artists. The mass
array of materials from disposals gives artists room for wild imagination.
5. Employment of Contemporary Technology

Contemporary art makes use of available technology in the process of
creating an artwork. Technology has revolutionized the way the contemporary
artists produce art. The process involved in some art productions has become
less tedious. An independent filmmaker can now shoot a film using a powerful
camera phone. Musicians now can compose music using tablet computers.
Page 175
Artists in the 21st century have many means of creating art. With a
multitude of available materials and with the aid of modern technological
advances, artists engage themselves in various artistic activities and
endeavors. If sculptures during ancient times were limited with the chisel and
the hammer, modern sculptures use computer-aided saws to create precise
cuts on various materials. Computers now use specialized software in creating
music. Writers can now self-publish electronic books of their works.
Today’s contemporary artists integrate other art forms or media in their

work. Visual artist may not only engage in painting but also in 3D animation or
WEB design. Musicians are now heavily involved in film scoring or theatrical
sound effects. Creative writers are advancing careers in professional editing
and translation work. The contemporary artist today is becoming more
enterprising than ever.
If you want to experience art, you can now access it anywhere and
anytime, if you have access to the World Wide Web. The works of painters,
sculptors, and architects are available online for appreciation and study. Music
and performance videos are now more accessible and available. You don’t
need to go to a museum or a concert to experience art.
Making A Poster: SAMPLE RUBRIC - Poster
CATEGORY 5 3 2 1
Graphics - All graphics are All graphics are All graphics relate to Graphics do not
Relevance related to the topic related to the topic the topic. Most relate to the topic OR
and make it easier to and most make it borrowed graphics several borrowed
understand. All easier to understand. have a source graphics do not have
borrowed graphics All borrowed citation. a source citation.
have a source graphics have a
citation. source citation.
Graphics - Several of the One or two of the The graphics are No graphics made by
Originality graphics used on the graphics used on the made by the student the student are
poster reflect a poster reflect student but are based on the included.
exceptional degree creativity in their designs or ideas of
of student creativity creation and/or others.
in their creation display.
and/or display.
Required The poster includes All required elements All but 1 of the Several required
Elements all required elements are included on the required elements elements were
as well as additional poster. are included on the missing.
information. poster.
Page 176
Attractiveness The poster is The poster is The poster is The poster is
exceptionally attractive in terms of acceptably attractive distractingly messy
attractive in terms of design, layout and though it may be a bit or very poorly
design, layout, and neatness. messy. designed. It is not
neatness. attractive.
Grammar There are no There is 1 There are 2 There are more than
grammatical grammatical mistake grammatical 2 grammatical
mistakes on the on the poster. mistakes on the mistakes on the
poster. poster. poster.
Use of Class Used time well during Used time well during Used some of the Did not use class
Time each class period. each class period. time well during each time to focus on the
Focused on getting Usually focused on class period. There project OR often
the project done. getting the project was some focus on distracted others.
Never distracted done and never getting the project
others. distracted others. done but
occasionally
distracted others.
Page 177
the Region
I. OBJECTIVES
techniques.
techniques.
Learning Competencies Identify local materials used in creating art
work.
CAR11/12CAP-Oc-e-11
Knowledge Identify local materials that can be used for any
art work.
Skills Use local materials to create artwork.
Attitude Display creativity in the chosen art work.
II. CONTENT Local Materials Applied to Contemporary Arts
References www.greenhomebuilding.com>localmaterials
IV. PROCEDURES
A. Preparation Let’s find out how our local materials are
valuable.
B. Motivational Question Are local materials valuable? Why?
C. Activity Activity 1 – Have A Pick
• The teacher prepares rolled papers with
pictures of
sample local materials.
• Place them on a bowl.
• Call students to pick one and think of any
art work that
can be created out of it.
1. How did you find the activity?
2. Are these materials readily available in
our place?
3. Would you consider these materials
valuable? Why?

LECTURE DISCUSSION
Page 178
1. What are local materials
2. Give sample works of art which can be
created
using local materials
In groups of 3, instruct students to

accomplish the
table:
Sample Local Art Works that
Materials Can Be
Created
1.
2.
3.
4.
5.
6. Practical Applications of Activity #4 Quotable Quote

Concepts and Skills in Daily Let students reflect on this quote.
Living “He who has the most materials, has the
greatest
means of invention.” - Sir Joshua
Reynolds
7. Generalization Nature has provided us with wonderful
materials to build with. It is up for mankind
how these can be of use to
benefit him.
8. Evaluation Using the same groupings, let students
think of a local
material to make any art work of their
choice.
(assignment) List more examples of local materials
available in your
barangay.
Page 179
V. REMARKS
VI. REFLECTION

did these work?
solve?
wish to share
Page 180
FIRST SEMESTER
SECOND QUARTER
Session 24
Topic: Local Materials Applied to Contemporary Arts
Let’s find out how our local materials are valuable.
Are local materials valuable? Why?
ACTIVITY 1 – HAVE A PICK
• The teacher prepares rolled papers with pictures of sample local

materials.
• Place them on a bowl.
• Call students to pick one and think of any artwork that can be created
out of it.

2. Are these materials readily available in our place?
3. Would you consider these materials valuable? Why?

1. What are local materials
2. Give sample works of art which can be created
using local materials
Page 181
In groups of 3, instruct students to accomplish the
table:
Sample Local Materials Art Works that Can Be

Created
1.
2.
3.
4.
5.

LIVING
ACTIVITY 4 – QUOTABLE QUOTE
Let students reflect on this quote:
“He who has the most materials, has the greatest means of invention.”
- Sir Joshua Reynolds
Nature has provided us with wonderful materials to build with. It is up

for mankind how these can be of use to
benefit him.
Page 182
Using the same groupings, let students think of a local material to
make any artwork of their choice.
(Note: Rubrics for grading is attached)

List more examples of local materials available in your barangay.
Page 183
ATTACHMENTS
WHAT ARE LOCAL MATERIALS?

Local materials are the resources that can be found readily in large quantity
at a particular location or area at a certain time. It could also be referred to
as materials that can be used to fabricate a finished element.
These materials however could be abundant in some area but not available in
another.
EXAMPLES OF LOCAL MATERIALS
ABACA
Initially used as material for rope, the abaca found its way inside Filipino homes as a
great material for furniture and decor. The versatility of abaca, or Manila hemp, makes
it easy to work with or create different designs with it. Furniture makers and designers
choose this material for their works because of its durability and availability.
COCONUT SHELLS
Coconut shell laminates are considered at par with the quality and appearance of
turquoise shells or ivory. When you look at photos of homes—whether in magazines
or online—a wide array of boxes, lamps, tabletops, chairs, household accessories,
and even wall treatments make use of these materials.
BAMBOO
Homes in the provinces often use bed frames, sofa sets, and tables made of
bamboo—proving that it's a versatile must-have that designers and homeowners
should consider. Aside from being used in different pieces of furniture, bamboo is also
sturdy and can give your home a laid-back tropical vibe. As a bonus, it can last a
lifetime, too.
CAPIZ SHELLS
If you think about it, you have seen capiz shells in different homes, in various forms.
These shells are often used in crafting wall art, decor, and even lighting fixtures. Invest
in one piece and use it as a focal point in the living area or dining room. There's no
doubt it'll be a conversation starter at your next dinner party.
Page 184
RATTAN
Made of climbing palm tree leaves, the rattan is another favorite of many designers.
Rattan furniture pieces have evolved over time—as seen in the works of acclaimed
designers Kenneth Cobonpue and Ito Kish, to name a few.
SANTOL WOOD
Quite common among Filipino backyards and farms, santol is mostly known for its fruit
that is popularly consumed and used as an ingredient. Little did we know that it has
more to offer—while it is less dense than narra or molave, it is way easier to work with
and polish. It is also highly resistant to wood borers (bukbok) which makes it ideal for
skeletal framework.
USE LOCAL MATERIALS
In almost all localities, nature has provided us with some wonderful materials to build
with. Because these materials require little processing or transporting, the
environmental and economic costs are low. Some are renewable resources (like trees
and straw), and some may be so abundant that their supply seems almost
inexhaustible (like rocks and sand). One of the beauties of building with local materials
is that they seem to fit well with the feeling of the place, naturally.
This rock wall made with our local stones lends a grotto-like feeling to our shower
For me, the most prized local gems are the rocks. What can you do with these
rocks, besides admire them? You can stack them to make retaining walls for
landscaping or make other decorative outdoor projects. They can also be mortared
together to make walls for a house. My feeling is that such walls are best suited to
special interior places where their thermal mass for heat storage can be taken
advantage of. If they are used for an exterior wall, it should be insulated from the
interior space. I built a rock wall in our shower stall that lends a wonderful grotto-like
Page 185
feeling to the space. I coated these stones with a thin layer of linseed oil mixed with
mineral spirits to bring out the natural colors. If you go out to gather rocks, please
respect people's private property and get permission from landowners to do so.
Another local mineral of great value is sand. It is the nature of sand to be self-
compacting and to drain water readily. The earthbag house that I built actually has no
conventional foundation; it was built directly on sand, with a layer of scoria for
insulation. Sand is also useful for bedding stones, and for making mortar for rockwork.
Adobe is an extremely valuable building material, useful for both walls and
floors. Any soil that is composed of between 20 and 30 percent clay, with the rest
mostly sand, is good for adobe projects. Such soil is found naturally in many areas of
the country. A simple way to test possible adobe soil is to place some in a glass jar
and then fill the jar nearly full of water. Next, shake the jar until all of the soil is
suspended in the water and then set it aside for several hours to settle out. The heavier
particles will sink first, and the finer clay will settle on the top. Organic material will
probably float on the water. There should be a clear line of demarcation between the
clay, silt and sand. From here it is an easy matter to estimate the percentage of the
total amount of soil that the clay represents. I have seen some gorgeous adobe floors
that have been poured with local soils. A thin layer of colored clay can be troweled on
top to produce wonderful effects. Adobe can also be made into blocks for building,
tamped into forms for rammed earth walls, or mixed with straw for cob construction.
Scoria, a volcanic stone similar to pumice, is light and full of air pockets. This
makes it very useful as a natural insulating material. I built nearly my entire house with
this stuff (in a crushed form), putting it into polypropylene bags. When the bags are
then sealed on either side (I used papercrete for this), you end up with a wall that is
very well insulated (estimated at about R-40.) Scoria can also be used as sub-floor
insulation to good effect. This stone has been used as an aggregate in cement, which
results in a material that is as strong as concrete, but much more insulating. The most
common use for scoria is in decorative landscaping. Our local variety is a rust red, but
I have seen it black, white, and other colors.
Page 186
Straw bales have become a common building block.
A renewable building material that has become quite popular is straw, baled
into tight, three-string bales. For insulation, straw bales cannot be beat (said to be
about R-60). The walls go up fast, and yield a pleasingly thick, cozy feeling to a house.
Care must be taken at all stages of construction to keep the bales dry, which basically
means allowing the bales to breath when the house is finished. The temptation is to
seal the straw bale walls completely from moisture from the outside with a vapor barrier
in order to keep them dry. This would be a mistake, because the moisture in the air on
the inside of the house will eventually condense on the inside of that vapor barrier,
which will lead to rotten bales, and eventually failure of the wall.
The view up to my office loft. Parts of natural trees were used for step
runners, balustrades, railing, loft vigas, posts to support the vigas, and structural
dome supports
Page 187
the Region
I. OBJECTIVES
techniques.
techniques.
Learning Competencies Critiques available materials and appropriate
techniques.
CAR11/12CAP-Oc-e-13
Knowledge Critique contemporary creation applying
traditional
technique.
Skills Write descriptive words to describe the
techniques used to
Critique art work.
Attitude Demonstrate cooperation in group activities.
II. CONTENT Traditional Techniques Applied to
Contemporary Creation
References https://galeriemichael.com/2018/01/3-popular-
contemporary
-artwork-techniques
Other Learning resources 1. https://www.tate.org.uk/art/art-
terms/m/minimalism
2. https://www.tate.org.uk/art/art-
terms/f/found-object
IV. PROCEDURES
A. Preparation What comes to your mind when you hear
the word
“critique”?
B. Motivational Question How does it sound, negative or positive?
C. Activity Activity 1 – Show and Tell
• The teacher shows a sample artwork in
class.
(See attachment for the sample art work)
• Let students look closely on the different
art works.
• As each art work is shown, ask students
what are the
strengths and weaknesses of the art work.
Page 188
1. Was it easy to look for the strengths
and
weaknesses of the art work? Why?
2. What do you look into the art work?

LECTURE DISCUSSION
3 Techniques that are among the most

relevant
In contemporary art
• Minimalism
• Found Objects
• Large-Scale Art
In groups of 5, instruct students to

provide details
on the following illustrations. Write the
descriptions
inside the circle.
MINIMALISM
5. Practical Applications of Activity #4

Concepts and Skills in Daily Ask this question for students’ reflection,
Living “Do you think
the 3 techniques are useful to have a
unique
perspective of the contemporary creation?
6. Generalization Applying the 3 techniques in critiquing a

work of art will
Help us see them in a unique perspective.
7. Evaluation • Divide the class into 6 groups
Page 189
Groups 1 and 2 Minimalism
Groups 3 and 4 Found
Objects
Groups 5 and 6 Large-Scale
Art
• The teacher will distribute an art work,

students
will make a critique using their
assigned technique of critiquing.
See attachment for the art work to be
used.

(assignment) Presentation of group critiquing
V. REMARKS
VI. REFLECTION

did these works?
solve?
wish to share
Page 190
FIRST SEMESTER
SECOND QUARTER
Session 25
Topic: Traditional Techniques Applied to Contemporary Creation
What comes to your mind when you hear the word “critique”?
How does it sound, negative or positive?
ACTIVITY 1 – SHOW AND TELL

1. The teacher shows a sample artwork in class.
2. (See attachment for the sample artwork)
3. Let students look closely on the different art works.
4. As each artwork is shown, ask students what are the strengths
and weaknesses of the artwork.

1. Was it easy to look for the strengths and weaknesses of the
artwork? Why?
2. What do you find in the artwork?
Page 191
3 Techniques that are among the most relevant

In contemporary art
• Minimalism
• Found Objects
• Large-Scale Art
In groups of 5, instruct students to provide details on the

following illustrations. Write the descriptions inside the circle.
MINIMALISM
FOUND LARGE-SCALE
OBJECTS ART
Page 192
LIVING
ACTIVITY 4 – REFLECTION
Ask this question for student’s reflection

“Do you think the 3 techniques are useful to have a unique
perspective of the contemporary creation?”
Applying the 3 techniques in critiquing a work of art will help us see

them in a unique perspective.
• Divide the class into 6 groups

Groups 1 and 2 Minimalism
Groups 3 and 4 Found Objects
Groups 5 and 6 Large-Scale Art
• The teacher will distribute an artwork, students will make a

critique using their assigned technique of critiquing.
See attachment for the artwork to be used.

Let someone read your essay in order to improve it.
Page 193
ATTACHMENT FOR DISCUSSION
Sample Artwork
Page 194
3 Popular Contemporary Artwork Techniques
Galerie Michael • September 03, 2017
WHAT TECHNIQUES ARE USED TO MAKE CONTEMPORARY ARTWORK?
Contemporary art is often looked at with a skeptical eye. The truth about
contemporary art is that it uses techniques that most people aren’t quite used to,
causing that skepticism to come into play. However, these techniques are actually
quite difficult, and all deserve our credit. It’s an incredible feat to create a piece of
contemporary art, especially using these techniques. They challenge the mind and
offer unique perspectives in a way that art has never been able to do before. For that
reason, they’re some of the most valuable techniques that a person can experience
through artwork. Here are three techniques that are among the most relevant in
contemporary art today.
1. MINIMALISM
One of the artistic movements that has been most relevant throughout the
contemporary art movement is minimalism. Minimalism seeks to take away what’s
unnecessary and leaving only what’s essential. Minimalism is incredibly difficult and
has even made its way into being a huge part of branding and design for companies
all over the world. This is probably the most important part of contemporary art, as it
has informed so much of society. Have you noticed that branding has gotten more
minimalist over the past ten years or so? You can thank the contemporary art
movement for doing that.
2. FOUND OBJECTS
Taking something that people view as useless, and then using it in a unique way
in order to make artwork is one of the most important movements that currently exist
in contemporary artwork. The idea is that things that we often view as junk are actually
more valuable than we think that they are. Everything you find can be used to tell a
story, or to create new diverse perspectives that we’re looking for when we attend an
art exhibition. The found objects movement is one of the most important movements
in all contemporary art currently.
3. LARGE-SCALE ART
Walter De Maria created an art piece in 1977 that included a four hundred steel
poles over one mile by one kilometer. That’s incredible. Creating something huge to
express diverse perspectives in artwork is incredibly popular, even today. Over the
past forty years, large scale art, and art that includes the environment has come into
its own as one of the most important movements within contemporary art. That’s why
you often see modern art pieces alongside buildings, or as huge structures out in the
open.
CONTEMPORARY ARTWORK RELIES ON CERTAIN TECHNIQUES

With every new age of art, there are new unique techniques that define how
the movement develops. For contemporary art, among many techniques, you can find
Page 195
techniques such as minimalism, found objects, and large-scale paintings. Each of
these bring their own unique perspective into the artistic community, and each is
valued as a pick for a technique that is most influential in contemporary art. Look out
for these when you’re out at an exhibition next, you’ll find that they’re much more
relevant than you perhaps think that they are.
MINIMALISM
Minimalism is an extreme form of abstract art developed in the USA in the
1960s and typified by artworks composed of simple geometric shapes based on the
square and the rectangle.
Minimalism or minimalist art is extending the abstract idea that art should have
its own reality and not be an imitation of some other thing. We usually think of art as
representing an aspect of the real world (a landscape, a person, or even a tin of soup!);
or reflecting an experience such as an emotion or feeling. With minimalism, no attempt
is made to represent an outside reality, the artist wants the viewer to respond only to
what is in front of them. The medium, (or material) from which it is made, and the form
of the work is the reality. Minimalist painter Frank Stella famously said about his
paintings ‘What you see is what you see’.
THE DEVELOPMENT OF MINIMALISM

Minimalism emerged in the late 1950s when artists such as Frank Stella,
whose Black Paintings were exhibited at the Museum of Modern Art in New York in
1959, began to turn away from the gestural art of the previous generation. It flourished
in the 1960s and 1970s with Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Agnes
Martin and Robert Morris becoming the movement’s most important innovators.
The development of minimalism is linked to that of conceptual art (which also

flourished in the 1960s and 1970s). Both movements challenged the existing
structures for making, disseminating and viewing art and argued that the importance
given to the art object is misplaced and leads to a rigid and elitist art world which only
the privileged few can afford to enjoy
QUALITIES OF MINIMALIST ART

Aesthetically, minimalist art offers a highly purified form of beauty. It can also
be representing such qualities as truth (because it does not pretend to be anything
other than what it is), order, simplicity and harmony.
FOUND OBJECT
A found object is a natural or man-made object, or fragment of an object, that
is found (or sometimes bought) by an artist and kept because of some intrinsic interest
the artist sees in it.
Found objects (sometimes referred to by the French term for found object
‘object trouvé’) may be put on a shelf and treated as works of art in themselves, as
well as providing inspiration for the artist.
Page 196
The sculptor Henry Moore for example collected bones and flints which he
seems to have treated as natural sculptures as well as sources for his own work.
Found objects may also be modified by the artist and presented as art, either more or
less intact as in the dada and surrealist artist Marcel Duchamp’s ready-mades, or as
part of an assemblage.
As so often, Picasso was an originator. From 1912 he began to incorporate

newspapers and such things as matchboxes into his cubist collages, and to make his
cubist constructions from various scavenged materials.
Extensive use of found objects was made by dada, surrealist and pop artists, and by
later artists such as Carl Andre, Tony Cragg, Bill Woodrow, Damien Hirst, Sarah
Lucas and Michael Landy among many others.
ATTACHMENT FOR EVALUATION
For Groups 1 and 2 For Groups 3 and 4
For Groups 5 and 6
Page 197
Region
I. OBJECTIVES
techniques.
techniques.
Learning Competencies Justifies the use of materials and the application of
Techniques.
CAR11/12CAP-Oc-e-13
Knowledge Evaluate the materials and technique to be used in
the
contemporary creation.
Skills Express justification in the use of materials and the
application of techniques through an essay.
Attitude Use critical thinking in the use of materials and the
application
of technique.
II. CONTENT Traditional Techniques Applied to Contemporary
Creation
References https://qualifications.pearson.com/unit.../unit_2_Mat
erials_
Techniques_and_Processes_in…
Other Learning
resources
IV. PROCEDURES
A. Preparation Be ready to justify your art work!
B. Motivational How did it feel to have made a piece of art?
Question Are you proud of your art work?
C. Activity Activity 1 – Say It!
• The teacher will ask the students to get hold of
their
art work made of local material.
• Call volunteers to explain what made them
decide to
create the artwork.
1. How does it feel justifying your side in the
creation
Page 198
of your artwork?
2. What do you think is the importance of your
justification?

LECTURE DISCUSSION
In order for students to understand material, it

must be
justified. Like, why is the material important? How
will it be
used?
Similarly, what technique to be applied in the
creation of
the work of art. One must ask, why is this
technique better
than the other technique?
Bases for Justification

1. Use of the materials
- Understand its suitability
- Fitness for the purpose
2. Technique to be Applied
- Explore the technique to be applied in
the
artwork
- Identify the most appropriate
3. Value of the product
4. The product’s creative potential
5. Production Cost

“Tell Me”
Pair up students and alternate justifying their

contemporary
creation using the bases for justification.
4. Practical Applications Activity #4 Reflect on the Quote

of Concepts and Skills “Haste makes waste.”
Page 199
in Daily Living
5. Generalization Art: whether you love it or hate it, the purpose is to
elicit a response.
Artists produce work as a result of internal or
external stimuli - the only aim should be to cause a
reaction, argues A.C. Grayling
6. Evaluation Write a 300-word essay to express justification

in the
The use of materials and the application of
techniques.
Follow this structure of your essay.
Provide a title
Thesis Statement
Reason # 1
Reason # 2
Reason # 3
Restated Thesis

application or
remediation Let someone read your essay in order to improve it.
(assignment)
V. REMARKS
VI. REFLECTION
No. of learners who

earned 80% in the
evaluation
No. of learners who
continue to require
remediation
work? No. of learners
who have caught up the
lesson
No. of learners who
Page 200
continue to require
remediation
Why did these work?
encounter which
principal and supervisor
can help or solve?
What innovation or
localized did I
wish to share
Page 201
FIRST SEMESTER
SECOND QUARTER
Session 26
Topic: Traditional Techniques Applied to Contemporary Creation
What comes to your mind when you hear the word “critique”?
How did it feel to have made a piece of art?

Are you proud of your artwork?
ACTIVITY 1 – SAY IT!
• The teacher will ask the students to get hold of their artwork made of
local material.
• Call volunteers to explain what made them decide to create the
artwork.

1. How does it feel justifying your side in the creation of your artwork?
2. What do you think is the importance of your justification?
Page 202
For students to understand material, it must be justified. Like, why is the material
important? How will it be used?
Similarly, what technique to be applied in the creation of

the work of art. One must ask, why is this technique better
than the other technique?
Bases for Justification

1. Use of the materials
• Understand its suitability
• Fitness for the purpose
2. Technique to be Applied
• Explore the technique to be applied in the artwork
• Identify the most appropriate
3. Value of the product

4. The product’s creative potential
5. Production Cost
ACTIVITY 3 – TELL ME
Pair up students and alternate justifying their contemporary creation using the
bases for justification.
ACTIVITY 4 – REFLECTION
1. Ask this question for students’ reflection, ““Haste makes waste.”
Page 203
Art: whether you love it or hate it, the purpose is to elicit a response.
Artists produce work as a result of internal or external stimuli - the only aim should
be to cause a reaction, argues A.C. Grayling
1. 1. Write a 300-word essay to express justification in the

2. The use of materials and the application of techniques.
3. Follow this structure of your essay.
4. Provide a title
Thesis Statement
Reason # 1
Reason # 2
Reason # 3
Restated Thesis

Let someone read your essay in order to improve it.
Page 204
Region
I. OBJECTIVES
Consolidates relevant concepts to plan for a
production.
Design a production using available materials and
appropriate techniques.
Learning Competencies Conceptualizes contemporary art based on
techniques and
performance practices in their locality.
CAR11/12AP-Of-h-14
Knowledge Describe contemporary art productions in Negros
Oriental
province.
Skills Present to class the group’s plan for what handicraft
to
create.
Attitude Perform the activity with enthusiasm.
II. CONTENT Contemporary Art Production in Negros oriental
Province
References https://en.wikipedia.org/wiki/Weaving
https://en.wikipedia.org/wiki/Carving
https://en.wikipedia.org/wiki/Pottery
Other Learning https://www.britannica.com/art/sculpture/Carving#re
resources f400960
IV. PROCEDURES
A. Preparation Let’s acquaint ourselves with the different art
productions
in our province.
B. Motivational Do you know of some handiworks in Negros
Question Oriental?
C. Activity Activity 1 – Picture prompt
• The teacher shows pictures of handiworks from
the
different towns of Negros Oriental.
(See attachment for the pictures)
• Let students look closely on the different
handiworks
and ask them the municipality where the
picture takes
Page 205
place.
1. Was it easy for you to identify the town
where the
picture takes place? Why?
2. Does it mean to say that you are not aware
that
our province is gifted with all these?
3. What have you realized after the pictures
are shown
to you?

LECTURE DISCUSSION
1. Weaving
2. Carving
3. Ornament
4. Graphic and Plastic Arts
5. Textile or Fiber Art
6. Pottery
Make A Stand
Let the students stand up if the statement is TRUE
and
remain seated if the statement is FALSE.
1. Weaving is a method of textile production in

which two
distinct sets of yarns or threads are interlaced
at right
angles to form a fabric or cloth. TRUE
2. Embroidery is an example of weaving. FALSE
3. In weaving, the longitudinal thread is called
the
weft. FALSE, it is called the warp.
4. Carving requires much work. TRUE
5. Carving and sculpture are the same. FALSE,
you add
a material in sculpture.
6. Pottery uses ceramic materials, which are
fired at high temperatures to give them a hard,
durable form. TRUE
7. Plastic arts come from waste materials.
TRUE
Page 206
6. Practical Applications Activity #4 Reflect Upon
of Concepts and Skills
in Daily Living Think of what local material that is most
accessible in
your locality. What kind of art production do
you want
to create?
7. Generalization Local materials are bountiful. Wealth of talents

abound
too. There is always something new to look
forward on
our local products. The Negros Oriental
province is
indeed gifted from above.
8. Evaluation Divide the class into 8. Instruct them to think of
a
local material and be able to present to class
your
roadmap to accomplish it. Students will be
guided by
the following:
1. What is the purpose of this project.
2. What will the timeline be.
3. Who will be on the team for this project
and
what role will they play.
Page 207
4. What resources are required to
complete this
project.
(Note: See attach rubrics)
application or
remediation Research in the internet project plan template.
(assignment)
V. REMARKS
VI. REFLECTION
No. of learners who

earned 80% in the
evaluation
No. of learners who
continue to require
remediation
work? No. of learners
who have caught up the
lesson
No. of learners who
continue to require
remediation
Why did these work?
encounter which
principal and supervisor
can help or solve?
What innovation or
localized did I
wish to share
Page 208
FIRST SEMESTER
SECOND QUARTER
Session 27 - 28
Topic: Contemporary Art Production in Negros Oriental Province
Let’s acquaint ourselves with the different art productions

in our province.
Do you know of some handiworks in Negros Oriental?

1. The teacher shows pictures of handiworks from the different
towns of Negros Oriental. (See attachment for the pictures)
2. Let students look closely on the different handiworks and ask
them the municipality where the picture takes place.

1. Was it easy for you to identify the town where the picture takes
place? Why?
2. Does it mean to say that you are not aware that our province
is gifted with all these?
3. What have you realized after the pictures are shown?
to you?
Page 209
1. Weaving
2. Carving
3. Ornament
4. Graphic and Plastic Arts
5. Textile or Fiber Art
6. Pottery
ACTIVITY 3 – MAKE A STAND
Let the students stand up if the statement is TRUE and

remain seated if the statement is FALSE.
1. Weaving is a method of textile production in which two

distinct sets of yarns or threads are interlaced at right
angles to form a fabric or cloth. TRUE
2. Embroidery is an example of weaving. FALSE
3. In weaving, the longitudinal thread is called the
weft. FALSE, it is called the warp.
4. Carving requires much work. TRUE
5. Carving and sculpture are the same. FALSE, you add
a material in sculpture.
6. Pottery uses ceramic materials, which are fired at high
temperatures to give them a hard, durable form. TRUE
7. Plastic arts come from waste materials. TRUE

DAILY ACTIVITY 4 - REFLECT UPON
• Think of what local material that is most accessible in

your locality.
• What kind of art production do you want to create?
Page 210
Local materials are bountiful. Wealth of talents abound
too. There is always something new to look forward on our local
products. The Negros Oriental province is indeed, gifted from above.
Divide the class into 8. Instruct them to think of a

local material and be able to present to class your
roadmap to accomplish it. Students will be guided by
the following:
1. What is the purpose of this project?
2. What will the timeline be?
3. Who will be on the team for this project and what role will they
play?
4. What resources are required to complete this project.
(Note: See attach rubrics)

Research in the internet project plan template.
Page 211
ATTACHMENT
Attachment for Activity #1 Picture Prompt
Stone Crafts in Bacong, Negros Oriental
Pandan Bags in La Libertad, Negros Oriental
Page 212
Claytown Daro, Dumaguete City, Negros Oriental
In Dumaguete a unique area awaits known as "Clay Town" located in Brgy.

daro. Twenty plus shops all owned by locals are with-in walking distance for you to
explore the different styles and sizes of hand crafted (some molded) clay pottery made
from local clay from rivers. Feel free to barter and get the best deals to suit your need.
This is a great option to beautify your outdoor or indoor garden needs.
Abaca Sinamay Weaving in Bacong Negros Oriental
Another place to visit here in Bacong is the Negros Oriental Arts and Heritage. This
exhibits high quality stone crafts as well as handicrafts made by the locals. NOAH
offers diversified products, elegant and detailed merchandises perfect for souvenirs.
Domestic and foreign tourists are always welcome here on weekdays. So, when you
visit Bacong, make sure to make a stop here.
1. Weaving is a method of textile production in which two distinct sets of yarns or

threads are interlaced at right angles to form a fabric or cloth. Other methods
are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads
are called the warp and the lateral threads are the weft or filling. (Weft is an
old English word meaning "that which is woven"; compare leave and left.[a]) The
method in which these threads are inter-woven affects the characteristics of
Page 213
the cloth.[1] Cloth is usually woven on a loom, a device that holds the warp
threads in place while filling threads are woven through them. A fabric band
which meets this definition of cloth (warp threads with a weft thread winding
between) can also be made using other methods, including tablet
weaving, back strap loom, or other techniques without looms. [2]
The way the warp and filling threads interlace with each other is called
the weave. The majority of woven products are created with one of three basic
weaves: plain weave, satin weave, or twill. Woven cloth can be plain (in one
color or a simple pattern) or can be woven in decorative or artistic design.
2. Carving is the act of using tools to shape something from a material by

scraping away portions of that material. The technique can be applied to any
material that is solid enough to hold a form even when pieces have been
removed from it, and yet soft enough for portions to be scraped away with
available tools. Carving, as a means for making sculpture, is distinct from
methods using soft and malleable materials like clay, fruit, and melted glass,
which may be shaped into the desired forms while soft and then harden into
that form. Carving tends to require much more work than methods using
malleable materials.
Whatever material is used, the essential features of the direct method

of carving are the same; the sculptor starts with a solid mass of material and
reduces it systematically to the desired form. After he has blocked out the main
masses and planes that define the outer limits of the forms, he works
progressively over the whole sculpture, first carving the larger containing forms
and planes and then the smaller ones until eventually the surface details are
reached. Then he gives the surface whatever finish is required. Even with a
preliminary model as a guide, the sculptor’s concept constantly evolves and
clarifies as the work proceeds; thus, as he adapts his design to the nature of
the carving process and the material, his work develops as an organic whole.
The process of direct carving imposes a characteristic order on the

forms of sculpture. The faces of the original block, slab, or cylinder of material
can usually still be sensed, existing around the finished work as a kind of
implied spatial envelope limiting the extension of the forms in space and
connecting their highest points across space. In a similar way, throughout the
whole carving, smaller forms and planes can be seen as contained within
implied larger ones. Thus, an ordered sequence of containing forms and
planes, from the largest to the smallest, gives unity to the work.
https://www.britannica.com/art/sculpture/Carving#ref400960
3. An Ornament is something used for decoration

4. Plastic Arts are Art forms which involve physical manipulation of
a plastic medium by molding or modeling such as sculpture or ceramics. Less
often the term may be used broadly for all the visual arts (such as painting,
sculpture, film and photography), as opposed to literature and music.
Page 214
Page 215
Region
Semester: First Session No.: 29 Date:
I. OBJECTIVES
Consolidates relevant concepts to plan for a
production.
Standard Design a production using available materials and
Learning Applies artistic skills and techniques in creating
Competencies CAR11/12AP-Of-h-15
Knowledge Explain the artistic skills and techniques for art
production.
Skills Select artistic skills and techniques appropriate for
art production.
Attitude Use critical thinking in justifying ones stand.
II. CONTENT Application of Artistic Skills and Techniques
References 1. Contemporary Philippine Arts From The
Regions
1st Edition, Flaudette May Datuin, et.al
2. https://en.wikipedia.org>wiki>Collage
Other Learning https://www.slideshare.net/cherainew1987/artistic-
resources skills-and-
techniques-to-contemporary-art-creations
IV. PROCEDURES
A. Preparation Let’s see how well we know about the various artistic
skills and techniques.
B. Motivational What happens to an artwork if not applied with art skills
Question and
techniques?
C. Activity Activity 1 – Make A Guess
Look for the missing letters to form the mystery words.
1. C __ L __ A __ E
= EGALLOC
2. D E __ __ L L __ __ E
= OCEDEGALL
3. G R A __ __ __ T I
= RGFAIFIT
4. L __ __ D A __ __ S
= DNAL STRA
Page 216
5. D __ G I __ __ L A R __ __
= LATIGID STRA
6. M __ X __ D M __ D __ A
= XEDIM AIDEM
7. P R __ __ TM A __ __ N G
TINRPGNIKAM

2. Did it take you long to think of the mystery
words?
3. What have you noticed with the words formed?

LECTURE DISCUSSION
• ARTISTIC SKILLS AND TECHNIQUES
1. Collage
2. Decollage
3. Graffiti
4. Land Arts
5. Digital Arts
6. Mixed Media
7. Printmaking
• Examples of each will be given during the
discussion
(Note: Please see attachment)
Group Activity
Work in groups of 3.
Direction: Inside the box are artistic skills and techniques.
Determine what artistic skill and technique is used in the
following illustrations. Give a quick explanation to support
your
answer.
Collage Graffiti Land Arts
Decollage Mixed Media
Print Making
Digital Arts
Page 217
(Source: streetartnyc.org)
Art technique: ________________-
Explanation: _____________________________
________________________________________
(Source: dreamstime.com)
Art Technique: __________________
Explanation: ____________________________
_______________________________________
Page 218
Art Technique: _______________________
Explanation: ____________________________
_______________________________________
6. Practical Activity #4 Reflect Upon
Applications of “Tell your own story, and you will be interesting.“
Concepts and Skills -Louise Bourgeois
in Daily Living
7. Generalization Knowledge of the artistic skills and techniques will help
an artist
To express his or her creative abilities to the fullest
potential.
8. Evaluation Activity No. 3 in application part will also serve as
Evaluation.
9. Additional activities ACTIVITY 4 - EXTEND YOUR KNOWLEDGE
for application or
remediation Surf the internet and see more illustrations
(assignment) observing the
artistic skills and techniques.
V. REMARKS
VI. REFLECTION
No. of learners who

earned 80% in the
evaluation
Page 219
No. of learners who
continue to require
remediation
Did the remedial
lesson work? No. of
learners who have
No. of learners who
continue to require
remediation
Which of my
teaching strategies
worked well? Why
did these work?
encounter which
principal and
supervisor can help
or solve?
What innovation or
localized did I
wish to share
Page 220
FIRST SEMESTER
SECOND QUARTER
Session 29
Topic: Application of Artistic Skills and Techniques
Let’s see how well we know about the various artistic skills and
techniques.
What happens to an artwork if not applied with art skills and

techniques?
ACTIVITY 1:
Activity 1 – Make A Guess
Look for the missing letters to form the mystery words.
1. C __ L __ A __ E EGALLOC
2. D E __ __ L L __ __ E OCEDEGALL
3. G R A __ __ __ T I RGFAIFIT
4. L __ __ D A __ __ S DNAL STRA
5. D __ G I __ __ L A R __ __ LATIGID STRA
6. M __ X __ D M __ D __ A XEDIM AIDEM
7. P R __ __ TM A __ __ N G TINRPGNIKAM
Page 221
2. Did it take you long to think of the mystery words?
3. What have you noticed with the words formed?
ACTIVITY 2 – ARTISTIC SKILLS AND TECHNIQUES

1. Collage
2. Decollage
3. Graffiti
4. Land Arts
5. Digital Arts
6. Mixed Media
7. Printmaking
• Examples of each will be given during the
discussion
ACTIVITY 3 – ACTIVITY
• Inside the box are artistic skills and techniques. Determine what
artistic skill and technique is used in the following illustrations.
Give a quick explanation to support your answer.
Collage Graffiti Land Arts
Decollage Mixed Media
Print Making
Digital Arts
Page 222
(Source: https://streetartnyc.org)
Art technique: ___________________________________

Explanation: ___________________________________
___________________________________
___________________________________
(Source: https://www.dreamstime.com)
Art technique: ___________________________________

Explanation: ___________________________________
___________________________________
___________________________________
Page 223
Source: https://www.dreamstime.com
Art technique: ___________________________________

Explanation: ___________________________________
___________________________________
___________________________________
ACTIVITY 4 – REFLECT UPON
Reflect Upon “Tell your own story, and you will be interesting. “.
-Louise Bourgeois
Knowledge of the artistic skills and techniques will help an artist

To express his or her creative abilities to the fullest potential.
Activity No.3 in application part will also serve as Evaluation.

Surf the internet and see more illustrations observing the
artistic skills and techniques.
Page 224
ATTACHMENTS
1. COLLAGE (/kəˈlɑːʒ/, from the French: coller, "to glue";) is a technique of an art
production, primarily used in the visual arts, where the artwork is made from
an assemblage of different forms, thus creating a new whole.
A collage may sometimes include magazine and newspaper clippings, ribbons, paint, bits
of colored or handmade papers, portions of other artwork or texts, photographs and
other found objects, glued to a piece of paper or canvas. The origins of collage can be
traced back hundreds of years, but this technique made a dramatic reappearance in the
early 20th century as an art form of novelty.
The term collage was coined by both Georges Braque and Pablo Picasso in the beginning
of the 20th century when collage became a distinctive part of modern art.
Source: https://en.wikipedia.org/wiki/Collage
Collage is a technique of an art production used in the visual arts, where the artwork is
made from an assemblage of different forms thus creating a new whole.
Source:https://www.slideshare.net/cherainew1987/artistic-skills-and-techniques-to-
contemporary-art-creations
Source: https://en.wikipedia.org/wiki/Collage#/media/File:DasUndbild.jpg
Page 225
Source: Pinterest.com
2.DECOLLAGE, in art, is the opposite of collage; instead of an image being built up of all
or parts of existing images, it is created by cutting, tearing away or otherwise removing,
pieces of an original image. The French word "décollage" translates into English literally
as "take-off" or "to become unglued" or "to become unstuck". Examples of décollage
include etrécissements and cut-up technique. A similar technique is the lacerated poster,
a poster in which one has been placed over another or others, and the top poster or
posters have been ripped, revealing to a greater or lesser degree the poster or posters
underneath.
Source: https://en.wikipedia.org/wiki/D%C3%A9collage
Source wolfganghock.com
Page 226
3. GRAFFITI (both singular and plural; the singular graffito is very rare in English except
in archeology) is writing or drawings made on a wall or other surface, usually as a form
of artistic expression, without permission and within public view. [2][3] Graffiti ranges from
simple written words to elaborate wall paintings, and has existed since ancient times,
with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire.
In modern times, spray paint and marker pens have become commonly used graffiti
materials, and there are many different types and styles of graffiti, it is a rapidly
developing art form.
Source: https://en.wikipedia.org/wiki/Graffiti
Source: neoplan.info
4. DIGITAL ART is a term applied to contemporary art that uses the method of mass
production on digital media. The techniques of digital art use extensively by the
mainstream media in advertisement and by film makers to produce visual effects. Both
digital and traditional artist used many sources of electronic information and programs
to create their work. It uses digital technology as an essential part of the creative or
presentation process. Digital art is placed under the larger umbrella the term new media
art.
Page 227
Source: emaze.com
Source: aminoapps.com
5. PRINTMAKING is the process of creating artworks by printing, normally on paper.

Printmaking normally covers only the process of creating prints that have an element
of originality, rather than just being a photographic reproduction of a painting. Except
in the case of monotyping, the process is capable of producing multiples of the same
piece, which is called a print. Each print produced is considered an "original" work of
art and is correctly referred to as an "impression", not a "copy" (that means a different
print copying the first, common in early printmaking). Often impressions vary
considerably, whether intentionally or not. The images on most prints are created for
that purpose, perhaps with a preparatory study such as a drawing. A print that copies
another work of art, especially a painting, is known as a "reproductive print".
Prints are created by transferring ink from a matrix to a sheet of paper or other material,
by a variety of techniques. Common types of matrices include: metal plates, usually
copper or zinc, or polymer plates and other thicker plastic sheets
for engraving or etching; stone, aluminum, or polymer for lithography; blocks of wood
for woodcuts and wood engravings; and linoleum for linocuts. Screens made of silk or
synthetic fabrics are used for the screen printing process. Other types of matrix
substrates and related processes are discussed below.
Page 228
Multiple impressions printed from the same matrix form an edition. Since the late 19th
century, artists have generally signed individual impressions from an edition and often
number the impressions to form a limited edition; the matrix is then destroyed so that
no more prints can be produced. Prints may also be printed in book form, such as
illustrated books or artist's books.
Source: https://en.wikipedia.org/wiki/Printmaking
Source: artistsnetwork.com
Source: en.wikipedia.org
6. MIXED MEDIA is an artwork in which more than one medium or material has been
employed. Assemblages and collages are two common examples of art using different
media that will make use of different materials including cloth, paper, wood and found
objects.
Mixed media art, a visual art, is distinguished from multimedia art which combines
visual art with non-visual elements, such as recorded sound, literature, drama, dance,
motion graphics, music, or interactivity.
Page 229
Source: boredart.com
7. LAND ARTS, variously known as Earth Art, Environmental Art, and Earthworks, is an art
movement that emerged in the 1960s and 1970s, largely associated with Great Britain
and the United States, but which included examples from many countries. As a trend
"Land art" expanded boundaries of art by the materials used and the siting of the works.
The materials used were often the materials of the Earth including for instance the soil
and rocks and vegetation and water found on-site, and the siting of the works were often
distant from population centers. Though sometimes inaccessible, photo documentation
was commonly brought back to the urban art gallery.
Concerns of the art movement centered around rejection of the commercialization of
artmaking and enthusiasm with an emergent ecological movement. The art movement
coincided with the popularity of the rejection of urban living and its counterpart, an
enthusiasm for the rural. Included in these inclinations were spiritual yearnings
concerning the planet Earth as home to mankind.
Source: https://en.wikipedia.org/wiki/Land_art
Page 230
Land Art or Earth works, or earth arts is an art movement in which landscape and the work
of art are inextricably linked. It is also an art from that is created in nature, using natural
materials such as soil, rock, (bed rock, boulders, stones), organic media9logs, branches,
leaves), and water which introduced materials such as concrete, metal, asphalt, or mineral
pigments.
Source:https://www.slideshare.net/cherainew1987/artistic-skills-and-techniques-to-
contemporary-art-creations
Source: https://www.artspace.com
Source: https://supersimple.com
Page 231
Grade: 11 Subject: Contemporary Philippine Arts for the Region
Semester: First Session No.: 30 Date:

I. OBJECTIVES
Content The learner demonstrates:
Standard Consolidates relevant concepts to plan for a production.
Standard Design a production using available materials and
Learning • Incorporates contemporary characteristics to one’s
Competencies creation with attention on detail.
CAR11/12AP-Of-h-16
• Creates the intended final product using appropriate
materials for the best possible output.
CAR11/12AP-Of-h-17
Knowledge Choose a contemporary art form applicable in one’s
locality.
Skills Create a final output using available local materials.
Attitude Perform the task with passion.
II. CONTENT Creating the final output
References Contemporary Philippine Arts From the Regions DIWA
Other Learning
resources
IV. PROCEDURE
S
A. Preparati Be thrilled for the final output and be guided how it should
on be accomplished.
B. Motivatio Are you excited for your final output?
nal
Question
C. Activity Activity 1 – Picture Presentation
Show the following arworks made in our province:
Page 232
Page 233
1. What can you say about the pictures?
2. Are the materials used available in our locality?
3. What do you think are the contemporary
characteristics
of art forms applied?

LECTURE DISCUSSION
• The teacher gives a quick emphasis on how to
Page 234
accomplish
the final output.
• The following will be considered:
1. Availability of local resources
2. Relevance of the product to everyday life
3. Achievable for the group to accomplish

Group Work
Using the same groupings, students will meet their

groupmates
and finalize their desired output.
(Note: Please see attached rubric)
6. Practical Activity #4 Reflect Upon

Applications of Using local materials in our everyday life helps the
Concepts and sustainability of these materials and show pride on our own
Skills in Daily products.
Living (Allow to hear students’ reaction)
7. Generalization Contemporary artworks are made possible with enthusiastic

hearts
and creative hands. With the readily available materials
around, not
only are products created but also helps provide income to
Filipino
households.
8. Evaluation The final output will serve as the evaluation
9. Additional ACTIVITY 5 - EXTEND YOUR KNOWLEDGE
activities for
application or The teacher will instruct students to read the quotation and
remediation challenge them to be productive in their life.
(assignment)
Page 235
V. REMARKS
VI. REFLECTION
No. of learners
who earned
80% in the
evaluation
No. of learners
who continue to
require
remediation
Did the remedial
lesson work?
No. of learners
who have
caught up the
lesson
No. of learners
who continue to
require
remediation
Which of my
teaching
strategies
worked well?
Why did these
works?
What difficulties
did I encounter
which principal
and supervisor
can help or
solve?
What innovation
or localized did I
use/discover
Page 236
which I wish to
share
Page 237
FIRST SEMESTER
SECOND QUARTER
Session 30
Topic: Creating the Final Output
Be thrilled for the final output and be guided how it should be

accomplished.
Are you excited for your final output?
ACTIVITY 1 - PICTURE PRESENTATION

Show the following artworks made in our province:
(See Attachments)

1. What can you say about the pictures?
2. Are the materials used available in our locality?
3. What do you think are the contemporary characteristics?
of art forms applied.
Page 238
1. The teacher gives a quick emphasis on how to accomplish
the final output.
2. The following will be considered:
• Availability of local resources
• Relevance of the product to everyday life
• Achievable for the group to accomplish
ACTIVITY 3 – GROUP WORK
Using the same groupings, students will meet their groupmates

and finalize their desired output.
(Note: Please see attached rubric)

LIVING
ACTIVITY 4 - REFLECT UPON
Using local materials in our everyday life helps the sustainability of these
materials and show pride on our own products.
(Allow to hear students’ reaction)
Contemporary artworks are made possible with enthusiastic hearts

and creative hands. With the readily available materials around, not
only are products created but also helps provide income to Filipino
households.
Page 239
The final output will serve as the evaluation

The teacher will instruct students to read the quotation and
challenge them to be productive in their life.
Page 240
ATTACHMENTS
ACTIVITY 1 - SHOW THE FOLLOWING ARTWORKS MADE IN OUR PROVINCE
Page 241
Page 242

Contemporary Arts From The Regions - Teacher Guide - Final

Uploaded by

Copyright:

Available Formats

Contemporary Arts From The Regions - Teacher Guide - Final

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Contemporary Arts From The Regions - Teacher Guide - Final

Uploaded by

Copyright:

Available Formats

What materials are discussed for creating artworks?

What materials are discussed for creating artworks?

What contemporary art techniques are mentioned?

What contemporary art techniques are mentioned?

Page(s) #

Meet the Writers 1

12. Folk Architecture 19 133 – 143

19. Contemporary Art Production in Negros Oriental Province 27 - 28 205 – 215

20. Application of Artistic Skills and Techniques 29 216 – 231

Born: Jimalalud, Negros Oriental

Birth: July 11, 1972

Address: Jimalalud, Negros Oriental

Email Address: [email protected]

Spouse: Irving Patoc Callao

Born: Paniabonan, Mabinay, Negros Oriental

Birth: April 7, 1993

Address: Paniabonan, Mabinay, Negros Oriental

Email Address: [email protected]

Spouse: Rujonel F. Cariaga

Verna Blanca Cariaga

Born: Jantianon, Amlan, Negros Oriental

Birth: June 27, 1985

Address: Jantianon, Amlan, Negros Oriental

Email Address: [email protected]

Spouse: Darren E. Catacutan

Born: Zamboanguita, Negros Oriental

Birth: September 20, 1972

Address: Poblacion, Sta. Catalina, Negros Oriental

Email Address: [email protected]

Spouse: Edsel Isabelo C. Edrial Jr.

Ellen Elopre Edrial, Ed.D.

Born: Tinaogan, Bindoy, Negros Oriental

Birth: December 31, 1967

Address: South Poblacion, Jimalalud, Negros Oriental

Email Address: [email protected]

Spouse: Aponigon B. Euraoba

Born: Amlan, Negros Oriental

Birth: November 5, 1990

Address: Lumapao, Canlaon City, Negros Oriental

Email Address: [email protected]

Chinie Mae R. Torres

Ms Chinie is with Jose B. Cardenas Memorial High School-Main Campus-Senior High

Born: Manila City, Luzon

Birth: March 7, 1988

Address: Dumaguete City, Negros Oriental

Email Address: [email protected]

John Audi P. Bato

Born: Tayasan, Negros Oriental

Birth: July 30, 1976

Address: Tayasan, Negros Oriental

Email Address: [email protected]

Spouse: Jean G. Fabugais

Mr. Fabugais teaches at Ayungon National High School. He is a graduate of Bachelor of

coordinator. He has fueled the teacher-writers to make all these possible.

Despite the hectic schedule of everyone, no one quits. Everyone shares to

tedious work until its completion.

The teacher-writers are blessed enough to be a blessing to other teachers

success of the Division of Negros Oriental.