Art Appreciation

Mayra Christina M. Ambrocio, DEM

Francisco C. Doble
Ervin D. Espinosa
Deobela Fulo – Fortes
Marian P. Alfonso
Michael T. Ardizone
Efren G. Mayani

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 Table of Contents

Module 9: Soul Making (Artmaking)

Introduction 162
Learning Outcomes 162
Lesson 1: Categories of Soul Making (Crafting Images,
Crafting Stories, Crafting Instruments and
Crafting Movements (Performance) 163
Lesson 2: (Art) Soul, Dreams, and Imagination 168
Lesson 3: Seven (7) da Vician Principles 173
Lesson 4: Soul and Space 179

Module 10: Local, Traditional and Indigenous Arts

Introduction 190
Learning Outcomes 190
Lesson 1: Textile Art 191
Lesson 2: Visual Elements in Philippine Traditional Motifs and Crafts 196
Lesson 3: Workshop on Improvisations, Installation, Trans Creation 198
Lesson 4: Indigenous Art 200

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 List of Figures

Figure Description
Page
9.1 Starry Night by Vincent Van Gogh (1889) 171
9.2 Gothic Landscape by Lee Krasner (1961) 172
9.3 The Treachery of Images (Pipe) 179
9.4 Buckminster Fuller’s Geodesic Dome 180
9.5 Fan Kuan 180
9.6 Christina’s World 182
10.1 Textile Art from India 192
10.2 Weaving on a Loom 193
10.3 Crochet needle with Stitches 194

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 MODULE 9
SOUL MAKING (ARTMAKING)

Introduction

Art making is a fun and rewarding way for people to express themselves and to learn
a broad range of skills and concepts. In making art, students explore the materials and
techniques used by artists and architects, and experience the decision-making practices that
artists have used over the centuries. While many art educators emphasize the creative
process and exploration through art, others focus on developing studio skills and a fully
realized final product. Students interested in working further in their craft become amateur or
professional artists.

When educators emphasize the art-making process over the final product, students
increase their sense of mastery, decision-making, and feeling of inclusion and independence,
and ultimately grow in self-awareness. Working in groups offers opportunities for shared risk
taking and completing works through teamwork, cooperation, and the exchange of ideas
(artbeyondsight.org, 2020).

Learning Outcomes

At the end of the module, students should be able to:

1. Identify the meaning and nature of soul making;

2. Describe the categories of soul making; and
3. Appreciate the importance of artmaking.

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Lesson 1. Categories of Soul Making (Crafting Images,
Crafting Stories, Crafting Instruments and Crafting
Movements Performance) (Montebon, 2020)

As Dr. Norman Narciso, one of the leading Filipino thought leaders in the art world,
deeply explains soul-making, "Soul making is an alternate place to know oneself and to look
at the depths and meaning of what we doin our daily lives.” Soul making is a step towards a
deeper comprehension of how the world is perceived and howhis or her own personality is
seen. Soul making plays a major role in art-production; it is a form of crafting stories,
transforming brief moments into images, symbols that connect with people, understanding
culture and embodying tolerance, peace, and imagination

Knowing oneself

In soul making, "who are you" is the topic that throughout the process serves as a
guidepost. Knowing oneself begins with consciousness. In order to start the process, it is
necessary to realize and embrace one's truth, history and understanding of existence. With
this new found insight, art, which is actually the very core of soul-making, can now come into
play. Therefore, it is not so much the production that is mostly taken into account, but the
method of perceiving anything.

Depths and Essence

Soul making is more than the soul's religious perspective. Soul refers to a person's
individuality that resonates with his or her behavior. Since art is a human expression that is
highly valued and symbolic, a person typically uses different art forms to fulfill the need to
communicate and express him or herself. The human desire to actualize his or her very being
is strongly assisted by soul making.

What We Are Doing

Art gives a person a sense of purpose about what he or she is doing. As any artwork
is an expression of one's perceptions, feelings, emotions, and realities, the key to personal
cultural growth is the process of creating such expression. Soul making utilizes every human
experience to build the influence that can make the artist himself and others improve.

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Everyday Life

Life includes a lot of adventure, understanding the challenges that come with
each adventure, and understanding how each person has a unique way of perceiving things
as life happens to them. Soul making is a method that can be gone through by anyone. As all
are creative in their own right, it is not limited to the "obviously artistic". It's just a matter of
losing yourself in the art of viewing the world from a different perspective and detaching
yourself from yourself.

DEFINITION OF SOUL MAKING

▪ an alternative venue for knowing ourselves and looking into the depths and real
meaning of what we are doing for our everyday life (Narciso, 2012)
▪ To develop the artist in us awakening the art in us that has been stagnant or
undeveloped for numerous years.
▪ It is an exploration and application of the imagination in an active way.
▪ It is a form of crafting stories are transforming brief moments into images are
symbols does connecting with people understanding culture and embodying
tolerance and peace.
▪ Can be an innate or learned skill or a combination of both.
▪ it is like with inspiration it plays a major role in art production

Categories of Soul Making

Crafting Images

Crafting images includes the production, by various forms and methods, of visual
representations of images. Any art form such as drawing, sketching, and sculpting can be
used to perform this process. Dancing, poetry (or black-out poetry), musical instrument
playing, and even filmmaking may also do this.

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Crafting Stories

He or she is already creating stories when an individual writes down his or her own
personal feedback, life values, deep feelings, ideas, ideals, and even high and low emotions.
Similar to crafting images, he or she may be portrayed by different means when one craft story
is presented. Stories can be relayed via vivid photos, calming music, and impactful sentences.

Crafting Instruments

Crafting instruments are treated as “a bridge to the unknown because the instrument
creates sounds that exceed our thoughts, emotions, and sensations. The soul is accompanied
by a vessel so that the soul will not disappear." Instruments help people explore the magic
behind music and its unique impact on a person. Such musical instruments can establish
the soul's harmonious sustenance and the mind's balance.

Crafting Movements

Life is movement, according to Dr. Narciso (2016). [One's] life is full of different
rhythms. "Our life is full of movements, it is full of different rhythms, life is
full of flowing images accompanied by narratives, and this melodic flow symbolizes how the
universe gives every human being the ability in their respective lives to experience the highs
and lows." For artists who are more inclined to crafting movement, the pattern that life serves
a person provides a source of inspiration.

Crafting Techniques

Crafting techniques in soul making are the artist's reflection of his life and experiences
in any piece of art. The approach, preferably, should be methodological. A soul maker, though,
when he executes his creative expression, is unbounded.

5 Phases of Soul Making

1. Seeking – The first step is seeking or finding. At this point, we recognize that each of
us who are interested in our own growth and the ways of our world is a 'seeker.' We

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 are looking for a discipline or method that can help us live in and make sense of the
world and heal the wounds of 'self. ‘The best thing about searching is that it is a vital
stage in our growth as soul builders. It gives us the tools to live our lives, and if we
systematically look, we find that in some integral sense, these tools and practices can
be fitted together, allowing us to settle down, moving us on to a practice or cluster of
practices that satisfy our creativity and passion, and that we can then spend time
perfecting.
2. Settling – Soul making is about communicating as profoundly as possible with the soul,
with other human and non-human beings (and this means the future of humans and
non-humans) and with the world. If we are perpetually wondering, we cannot do this.
We must find ourselves settled at some point in our lives.
3. Surrender – If it is permitted to surrender, with all its pain and vulnerability, something
magical will happen. We tend to note in the midst of the crashing that our activities
begin to be in the service of the soul. The capacity to surrender, of course, is restricted
by the amount of pain and uncertainty that we can bear! True surrender takes us up
and throws us down; calls for the wounds we bear to be accepted; forces us to spend
time living in the darkness.
4. Soul making – At some point in the variations between the Settling and Surrender dual
polarities, we begin to perceive our practice and life in the universe as Soul Making.
We are beginning to become an expert, an injured healer. We're starting to grow up
enough to feed our girls, our children, our children. We accept that there's no way to
ever get it right. Soul Making is the fourth stage, in which the individual transitions from
a stage of improving reflective practice to becoming a practitioner of soul making.
However, this is still not to be completely settled in, since it holds all the strengths and
disadvantages of the previous levels. Both of us have to keep looking. Throughout life,
we all settle and re-settle. We would all be met with the psyche 'appeal for submission,
over and over again. And it will constantly call upon our capacity to care and nurture
(others and the world).
5. Soaring – When we begin the journey, what we most wish is to soar. To conquer
our worldly experience’s material realities-to travel. It will not happen, however, if we
only want to fly, nor can the psychological version of a spaceship or airplane be

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created by ourselves. What may be true is that we could find ourselves soaring,
together, engulfed in the air and sky, by enabling ourselves to pass-through the stages
of Soul Making.

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Lesson 2. (Art) Soul, Dreams, and Imagination (Richmond, 2020)

“Dream” and “imagination” are closely related words, but they still have a few
distinctions. Both “dream” and “imagination” refer to mental processes, states, and products
of a person’s mind. Both are also experiential. The two states are not based on or influenced
by reality. They also refer to the capacity and creativity of an individual.

“Dream” and “imagination” are often mistaken for one another simply because they
exist in the same context – the mental mind. They can influence each other in many instances,
and sometimes they can also be influenced by environmental factors with the help of the five
senses.

Difference between Dream and Imagination

Dream vs. Imagination

“Dream” and “imagination” are closely related words, but they still have a few
distinctions. Both “dream” and “imagination” refer to mental processes, states, and products
of a person’s mind. Both are also experiential. The two states are not based on or influenced
by reality. They also refer to the capacity and creativity of an individual.

“Dream” and “imagination” are often mistaken for one another simply because they
exist in the same context – the mental mind. They can influence each other in many instances,
and sometimes they can also be influenced by environmental factors with the help of the five
senses.

However, there is a line drawn between the two concepts. Imagination, for one, is the
act, power, or ability to create and form mental images, pictures, sounds, or other sensory
events that are not present in reality. Imagination often requires a stimulus or inspiration to
“release” more ideas or options.

Imagination can happen suddenly (when one is struck by inspiration or a stimulus) and
then deliberately (when the person makes an effort to pursue avenues of the idea).

Imagination happens in a conscious state.

A dream, on the other hand, is a series of the same sensory abilities without making
an effort to create them. Dreams usually happen during unconsciousness or in a state of

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sleep. They can also happen during consciousness, which is often termed as daydreaming.
In a state of sleep, dreams occur during the rapid eye movement (REM) stage.

In comparing both concepts, some claim that imagination is like an experiment; it tries
to explore possibilities and options in a certain avenue. Meanwhile, dreams are often regarded
as a sort of self-reflection. Furthermore, dreams have varying themes like sexual,
adventurous, frightening, magical, and many others.

Imagination can also have effects when used. Usually, literary works, art, or other
mediums of expression are products of the imagination. The same can be said for dreams;
however, dreams also have a special place in other fields because they are regarded as a tool
for “meaning-making,” signs, or premonitions. They are usually subjects for interpretation and
divine intervention.

Dreams can occur in a single episode or as a series of related dreams. There are also
instances when people remember or do not remember their dreams.

Soul making: Making and Deriving Meaning from Art

Semantics and grammatical rules are essential elements to remember in order for
human beings to make sense of language and derive meanings from words. Apart from
this, it is often known that meaning and symbolisms view and evaluate either verbal or
written works. In terms of art, it would involve understanding the visual elements on which art
was focused, particularly the concepts of design, in order for people to make sense of the
work. It is important to remember that the viewer must have a certain degree of understanding
of the work's style, shape, and material. It would be impossible to appreciate the visual
arts in their fullness and completeness without such understanding.

Improvisation

It is possible to describe improvisation as doing something without previous planning.

There is a decision to act upon something that might not be expected necessarily.
Improvisation has become an important part of the arts within the present context. Some would
claim that during the twentieth century, it was a response to the stiffness of the arts.

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There is a call for emancipation from monotony aimed at rekindling people's creative spirits in
the arts.

Infusing spontaneity and improvisation adds up to the totality of the work of art for
certain artists. The unpredictability of the changes brought on by improvisation enables the
artwork to have a distinctive quality that creates its identity and uniqueness. The principle of
allowing opportunities in the process of making the work is supported by some artists. Artists
would like, for instance, to depict the darkness brought on at night by an incoming storm or
the beauty of a meteor shower. Since they do not inherently have total influence over natural
phenomena, their dependency on opportunities may not necessarily deliver their anticipated
result. Artists who encourage their subjects to improvise can often have entirely different
outcomes.

Appropriation

Throughout history, appropriation of art has been a common occurrence. In the past,
an apprentice painter would be able to use his master’s work to copy if he wanted to hone his
skills in his art. It is as if the apprentice is attempting to explore what he is more familiar with
through his personal application of techniques. There are, however, several individuals who
have reached the extreme by assuming that an artist’s exact artwork is replicated and credited
to himself. This could pose a problem with authorship in particular. The issue occurs when the
artist of appropriation gets bits and pieces from other works and incorporates these elements
into his own work. Furthermore, when appropriation artists escape responsibility for putting
the specifics of other works and incorporating them into their own, with that of the appropriation
artist, their voices and perceptions of the other artists are lost.

A very thin demarcation line seems to exist between the art of appropriation and
forgery. Forgery can historically be categorized into two forms: outright copies of existing
works and pastiches, which are works that incorporate elements of a work and infuse them
into a new work. But forgery may be in the form of making an interpretation of what an artist
might do by prediction in contemporary times. This can be accomplished by studying the
techniques and style used by the artist and also the focal points highlighted in his past and
present works. Since problems of plagiarism or forgery often arise, the motives of the

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appropriation artists are sometimes challenged. Some would say that the purpose behind
the appropriation is that they want the audience to remember the images they
replicated. There is a desire on the artist's part that the audiences will see a new take on the
original work (Thorp, 2020).

Art making as soul making. In making art an artist or artisan or even an ordinary
person. The reason for that term for example rather than soul builder or soul grower is that the
emphasis is on creative intelligent authorship. The term the vale, it opens door for multiple
intelligences of expression. As a process of validating one’s life experience.

Figure 9.1. Starry Night by Vincent Van Gogh (1889)

Source From: Expressionism Artwork from https://www.vangoghgallery.com/painting/starry-night.html

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 Figure 9.2. Gothic Landscape by Lee Krasner (1961)
Source From: Abstract Expressionism Art Term Tate from
https://www.tate.org.uk/art/artworks/krasner-gothic-landscape-t03291

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Lesson 3. Seven (7) da Vician Principles (Mugadonna, 2020)

What does it mean to be genius? Is genius born or made – or both? The idea of "genius

thinking" can sound rather overwhelming, but you'll be pleased to find that it's simpler and a

lot more enjoyable than you thought. The method of Leonardo will affirm many of your own

strongest intuitions as to how you can access your own ability. Here are the seven genius

principles of Leonardo da Vinci that will open your imaginative aorta and unleash your genius.

1. Curiosità – is an insatiably curious approach to life and unrelenting quest for

continuous learning.

Da Vinci was not the only one to represent a nearly unlimited supply of curiosity.

Some of the great inventors and leaders of humanity have the ability to unlock life's

mysteries. Think about curiosity in 2basic questions:

a. What if?

b. How come?

What If: Ask your brain to project into the future. It encourages you to see options where you
might have overlooked them, it allows you to make connections and it is a sneaky way to get

your brain more goal-oriented. What if I started this person's conversation? What if I attempted
a new activity like this? What if I began the new schedule of workouts? Usually, what happens
after 'what if...' is mystical.

How Come: How come brings you to 'Why'. Instead of watching the environment passively or
going through reflex replies, 'how come' makes you challenge both your actions and the

intentions of others. Da Vinci didn't waste his life for a second. He was making and guessing
and tinkering all the time. 'How come' allows you to use a mission every second of your life.

Here are some ways you can capture more Curiosita:

• A Hundred Questions: Write down 100 questions that are important to you. These
could be questions you wish to answer yourself such as, “What is my purpose?” or

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 “What is the meaning of life?” or questions you want to know about everyone you meet

like, “What is your passion? or “What makes you happy?” This is the ultimate ‘what if’

and ‘how come’ exercise.

• Ten Power Questions: After you have brainstormed a list of 100 questions, select the
10 that have the most powerful impact when you read them. Which ones spark a

feeling of motivation or achievement? These are your catalyst questions. For example:
▪ When am I most naturally myself?

▪ What is my greatest talent?

▪ What is my heart’s deepest desire?

• Daily Themes: Da Vinci was an avid writer and note taker. He had a journal
everywhere he went. I have a journal at my desk AND at my bed to take notes when
all kinds of ideas pop into my head. Carry a journal with you everywhere and write

down your ideas and observations. Each day, choose a theme or word. You can do

this at the beginning of the day to set the intention or at the end of the day as a cool
down or wrap-up.

2. Dimostrazione – is a commitment to test knowledge through experience, persistence

and a willingness to learn from mistakes. Dimostrazione is the embodiment of your

own hands controlling your life. This principle tells us:

a. Test every idea

b. Don’t take anything for granted

c. Experience life first hand

For instance, if I take this personal growth lesson, then I expect to be healthier. Or as

simple as if I were reorganizing my wardrobe, then in the morning it would be easier to get

dressed. The 'If ..., then ...'exercise places you in the mood of chance-hunting, so you still look

for and try alternatives.

Here are some ways you can capture more Dimostrazione:

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 • Find Your Greats: You have probably heard of all the most popular artists and authors,
but who are your favorites? Set out to find your greats. Don’t take anyone else’s word

for it. Start your own search for the artists, classical musicians or writers that inspire
you. Go to a museum and look at the paintings without glancing at the names.
• Be Devil’s Advocate: Try playing devil’s advocate against yourself. Try making the
strongest possible argument against one of your own beliefs just for the mental

exercise. Write at least 3 points against yourself.

3. Sensazione – is the continual refinement of the senses, especially sight,

as the means to enliven experience.

Fill in the blank:

is so beautiful.

I love the way smells.

What a lovely .

I adore the feeling of on my skin.

The sound of is music to my ears.

We forget to savor and sensualize our experiences. We all heard, 'Stop and smell the

roses,' but when did you actually stop and smell the roses for the last time? Yes, literal roses,

but metaphorical roses as well. When did you stop for the last time to savor an experience?

Da Vinci was unbelievably inspired by the world around him and the more he honed his
senses, the greater his genius became.

Here are some ways you can capture more Sensazione:

• A Sense a Day: Plan out 5 experiences in the next few months where you practice
honoring each of your senses.

▪ For smell, go to the local botanical gardens, make your own perfume or

cologne and learn to recognize herbs by their scent at the local grocery store.

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 ▪ For taste, (this one is easy!) eat a bunch of your favorite foods and try one new

cuisine. Figure out your favorite spice.

▪ For sight, go to your local museum, then hike to a vista or view point and

learn some new photography techniques.

▪ For touch, go to your local animal shelter and volunteer petting pups and kitties.

Go through your closet and organize it by fabric. Go shopping and try to buy

one new fabric you have never owned before.

▪ For hearing, go to a concert, stop by your local music store and try to play an
instrument you have never heard before. If you are really ambitious, try to learn

bird mating calls or spend sometimes trying to draw sound. For example, if you

had to draw the sound of a trumpet, how would you do it?

4. Sfumato – is a willingness to embrace confusion, paradox, and confusion. Da Vinci

had a very special capacity to comprehend the extreme opposites of views and

phenomena. He was also able to explore and revel in the uncertainty of unknowns.
Most of us are uncomfortable with questions not being known or unanswerable, so we

avoid anything beyond our control. We stick to what we know and do a Google search
right away the moment we don't know something.

Here are some ways you can capture more Sfumato:

• Stop Googling: For the next week, anytime you need to look up a word or trivia fact,
try to guess the answer instead. You can phone a friend for help as well, as long as
they brainstorm with you too.

• Embrace Your Ambiguity: List some situations from your life where you are confused
or feel ambiguous about an outcome and explore the feelings that come up.

• Cultivate Confusion Endurance: Tap into your own paradoxes by asking questions
like, “How are my strengths and weaknesses related?” or “What is the relationship
between my saddest moments and the most joyful ones?”

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 5. Arte/Scienza – is the development of the balance between science and art, logic and

imagination.

Although Da Vinci was not around for the right and left brain learning experiments, this

notion speaks directly to the whole brain thinking idea. Label the declarations that sound like

you:

Right Brained:

I like details
I am almost always on time
I rely on logic
I am skilled at math
I am organized and disciplined
I like lists

Left Brained:
I am highly imaginative
I am good at brainstorming
I love to doodle
I often say or do the unexpected
I rely on intuition
I often lose track of time

6. Corporalitá - The cultivation of beauty, inborn talent, fitness and poise is called
Corporalita. In addition to his intellectual ability, Da Vinci was unbelievably athletic.
From early on, he knew that his body also had to be in top shape if he wanted his mind
to work at optimum levels.
Here are some ways you can capture more Corporalita:

• Learn the Science of Eating: I did a whole post on the science of eating on some really
easy ways to make your food intake more purposeful.
• Get on a Sleep Schedule: Everyone has different sleep needs and different sleep
rhythms. For the next week, track your sleep times and hours and see which days you

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 have the most energy. Are you a night worker? A morning person? Learn your cycles
and then honor them by building asleep routine.
• Cultivate Ambidexterity: Da Vinci used both his right and left hands as he worked. You
can do this by trying to brush your teeth with your non dominant hand or get a really
patient person to play a game of pool, tennis or catch where you switch hands.

7. Connessione – is a recognition of and appreciation for the interconnectedness

of all things and phenomena.

Here are some ways you can capture more Connessione:

• What’s Your Book Outline? If you had to create a table of contents for a book about
your life, what would it be if you couldn’t make it chronological?

3 Objects: Pick 3 random objects in your house. If you had to find connections between
them, what would they be? For example, I chose my blender, my garage clicker and a bottle
of nail polish. Can you think of three connections? I thought: With all three of these things,
the faster they work the better. The faster the blender, the better the smoothie, the faster the
garage door opens, the faster I get home and the faster my polish dries, the less risk there is
of my mashing up my toe nails. This is a great one to play with kids (Balt, 2014)

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Lesson 4. Soul and Space (Esaak, 2020)

Understanding space as an element of art and design, artist use lots of tricks to create
the “illusion” of depth on a page. Color, overlapping, size, perspective call all add distance and
dimension to a piece.
Techniques for Creating Illusion of Depth:
- Value: Lightness or Darkness
- Space: Distance between points or planes
- Perspective: uses Mathematical Principles

Figure 9.3 Rene Magritte, The Treachery of Images, (“This is not a pipe”), 1929
Source From: https://contentincontext.me/2020/06/16/fact-v-fiction-in-public-discourse/

Buckminster Fuller’s Geodesic Dome (1963-1976).

- Demonstrate the effect of light on planes
- Each of these planes has a different relative degree of lightness or darkness: (a) value
changes occur gradually; (b) the relative dark values increase as the planes get further
away and face away from the light; and (c) there is a value range of black, white, and or
gray.
- Formerly used as a sculpture studio at Reed College in Portland, Oregon.

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 Figure 9.4. Buckminster Fuller’s Geodesic Dome (Art Dome) 1963
Source From: https://www.pinterest.ph/pin/529102656195698436/

Space: Alternating Value and Texture

Each area of light and dark occupies different amounts of space, making the design more
interesting.
Note the change in visual texture from bottom to top.
These visual layers create a sense of depth.

Figure 9.5. Fan Kuan, Travelers among Mountains and Streams, Northern
Sung Dynasty, 1th century. Hanging scroll, ink and colors on
silk, 81¼ x 40⅜”. National Palace Museum, Taipei, Taiwan
Source From:
https://depts.washington.edu/chinaciv/painting/tptgnsla.htm

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 Space, as one of the classic seven elements of art, refers to the distances or areas
around, between, and within components of a piece. Space can be positive or negative, open
or closed, shallow or deep, and two-dimensional or three-dimensional. Sometimes space isn't
explicitly presented within a piece, but the illusion of it is.

Using Space in Art

The American architect Frank Lloyd Wright once said that "Space is the breath of art."
What Wright meant was that unlike many of the other elements of art, space is found in nearly
every piece of art created. Painters imply space, photographers capture space, sculptors rely
on space and form, and architects build space. It is a fundamental element in each of the
visual arts.
Space gives the viewer a reference for interpreting an artwork. For instance, you may
draw one object larger than another to imply that it is closer to the viewer. Likewise, a piece of
environmental art may be installed in a way that leads the viewer through space.

Figure 9.6. Andrew Wyeth (American, 1917-2009). Christina's World, 1948

Source From: https://www.moma.org/collection/works/78455

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 In his 1948 painting Christina's World, Andrew Wyeth contrasted the wide spaces of
an isolated farmstead with a woman reaching towards it. French artist Henri Matisse used flat
colors to create spaces in his Red Room (Harmony in Red), 1908.

Negative and Positive Space

Art historians use the term positive space to refer to the subject of the piece itself, the
flower vase in a painting or the structure of a sculpture. Negative space refers to the empty
spaces the artist has created around, between, and within the subjects.
Quite often, we think of positive as being light and negative as being dark. This does
not necessarily apply to every piece of art. For example, you might paint a black cup on a
white canvas. We wouldn't necessarily call the cup negative because it is the subject: The
black value is negative, but the space of the cup is positive.

Opening Spaces
In three-dimensional art, the negative spaces are typically the open or relatively empty
parts of the piece. For example, a metal sculpture may have a hole in the middle, which we
would call the negative space. Henry Moore used such spaces in his freeform sculptures such
as Recumbent Figure in 1938, and 1952's Helmet Head and Shoulders.
In two-dimensional art, negative space can have a great impact. Consider the Chinese
style of landscape paintings, which are often simple compositions in black ink that leave vast
areas of white. The Ming Dynasty (1368–1644) painter Dai Jin's Landscape in the Style of Yan
Wengui and George DeWolfe's 1995 photograph Bamboo and Snow demonstrate the use of
negative space. This type of negative space implies a continuation of the scene and adds a
certain serenity to the work.
Negative space is also a key element in many abstract paintings. Many times a
composition is offset to one side or the top or bottom. This can be used to direct the viewer's
eye, emphasize a single element of the work, or imply movement, even if the shapes have no
particular meaning. Piet Mondrian was a master of the use of space. In his purely abstract
pieces, such as 1935's Composition C, his spaces are like panes in a stained-glass window.
In his 1910 painting Summer Dune in Zeeland, Mondrian uses negative space to carve out an
abstracted landscape, and in 1911's Still Life with Gingerpot II, he isolates and defines the
negative space of the curved pot by stacked rectangular and linear forms.

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Space and Perspective
Creating perspective in art relies on the judicious use of space. In a linear perspective
drawing, for instance, artists create the illusion of space to imply that the scene is three-
dimensional. They do this by ensuring that some lines stretch to the vanishing point.
In a landscape, a tree may be large because it is in the foreground while the mountains
in the distance are quite small. Though we know in reality that the tree cannot be larger than
the mountain, this use of size gives the scene perspective and develops the impression of
space. Likewise, an artist may choose to move the horizon line lower in the picture. The
negative space created by the increased amount of sky can add to the perspective and allow
the viewer to feel as if they can walk right into the scene. Thomas Hart Benton was particularly
good at skewing perspective and space, such as his 1934 painting Homestead, and 1934's
Spring Tryout.

The Physical Space of an Installation

No matter what the medium is, artists often consider the space that their work will be
displayed in as part of the overall visual impact.
An artist working in flat mediums can presume that his or her paintings or prints will be
hung on the wall. She may not have control over nearby objects but instead may visualize how
it will look in the average home or office. She may also design a series that is meant to be
displayed together in a particular order.
Sculptors, particularly those working on a large scale, will almost always take the
installation space into consideration while they work. Is there a tree nearby? Where will the
sun be at a particular time of day? How large is the room? Depending on the location, an artist
can use the environment to guide her process. Good examples of the use of setting to frame
and incorporate negative and positive spaces include public art installations, such as
Alexander Calder's Flamingo in Chicago and the Louvre Pyramid in Paris.

Look for Space

Now that you understand the importance of space in art, look at how it is used by
various artists. It can distort reality as we see in the work of M.C. Escher and Salvador Dali. It
may also convey emotion, movement, or any other concept the artist wishes to portray.

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 Space is powerful and it is everywhere. It is also quite fascinating to study, so as you
view each new piece of art, think about what the artist was trying to say with the use of space.

ASSESSMENT TASK 9-1

Soul Making (ArtMaking)

#MyVersionOfExpressionismArtwork

Directions. Create and art work depicting the Art of Expressionism.

Step 1. Choose the subject of your artwork. This can be a person, place or object, or even
a mental image, such as a memory or dream.

Step 2. Sketch the image you want to create. Don't plan in advance or second-guess
yourself. Try several different sketches, keeping your emotional reaction uppermost in
your mind. Choose the one you feel best captures the feeling of your experience.

Step 3. Select the colors you intend to use. Expressionist painters typically used a limited
palette of colors. One of the key breakthroughs of Expressionism was that color could be
used symbolically rather than realistically. Painters, such as Van Gogh and Kandinsky,

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used color to powerful effect. Select five or six colors, including several lighter and darker
shades of the same hue.

Step 4. Paint an image based on your sketch. Don't be afraid to modify your work in
progress if that seems right to you. Use bold contrasts of color, even if that means deviating
from nature, like the lurid sky in the background of Munch's "The Scream." Don't censor
yourself; Expressionist art didn't flinch from expressing even shocking and unsettling
aspects of human emotion.

ART RUBRIC

Points
Criteria
3 5 8 10
The art work
The student
The art work shows that the
The student did the
shows that the student
did the assignment in
student applied applied the
Elements of minimum or a satisfactory
the principles principles
Design the artwork manner, but
discussed in discussed in
was never lack of
class class in
completed planning was
adequately. unique
evident.
manner.
The piece The student
The student’s The student
shows little or artwork
work lacked work
Creativity no evidence of demonstrates
sincere demonstrates
original a unique level
originality. originality.
thought. of originality.
The student The student The student the students
Effort did not finish finished the completed the gave an effort
the work in a project, but it project in an beyond the

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 satisfactory lacks finishing above average requirements
manner. touches or can manner, yet of the project.
be improved more could
upon with little have been
effort. done.
The student The student The artwork is
The student
showed showed above outstanding
showed poor
average average and was
Skill craftsmanship
craftsmanship craftsmanship finished with a
or lack of
and and great deal of
understanding.
understanding. understanding. patience.
The student The student The student
The student
displayed a displayed a displayed a
displayed a
negative positive positive
negative
response at response most response all of
Responsiveness response
times during of the time the time
throughout the
the during the during the
development
development development development
of piece.
of the piece. of the piece. of the piece.

SUMMARY

Art making is a fascinating and effective way to introduce students to a wide variety of
textures and help them develop their tactile exploration skills. Younger students develop their

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motor skills when working on construction or modeling projects that involve manipulating
paper, cardboard, clay, plaster, and other materials.

When students make art, they have the opportunity to express their feelings, fantasize,
tell stories, and give their ideas concrete form. They can reflect and draw upon their everyday
experiences and observations. Students find relationships between objects, consider
alternatives, and make choices. They identify with the ideas and feelings explored and
expressed by well-known artists. Collecting and working with natural materials to make a
collage, for example, can expand students’ learning in an environmental-studies program.
Science classes can use modeling and construction projects. Basic physics can be addressed
through sculptural projects. Math concepts, such as addition, subtraction, multiplication,
division, and geometry can be reinforced through creating patterns that incorporate both line
and color.

CATEGORIES OF SOUL MAKING

- refers to imaging or representing in any form which may be
through painting sculpting drawin g storytelling poetry
dancing composing or taking notes.
- it's just like weaving quilting or do ing crochet quilting or
Crafting Images
doing crochet it is not creating wo rks out of nothing if this
Rooter in their own personal experience is our personal and
counters and events the triggere d are reflection recall and

judgment.
- the moment we write engrave and inscribed our own
Crafting Stories thoughts ideas commentaries crit icisms and positive and
negative emotions.
- transforming any found or use ob ject in an into a musical
instrument allows one to discove r harmony and balance to
Crafting Instruments
produce a sound that is entertain ing and handsome and

- our life is full of movements it is fi lled with various beats life

Crafting Movements
is full of flowing images accompa nied by following
(Performance)
narratives everything we do in life is performance we

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 perform live at times with the past to capture the
movements of for energy and the world.
- anything can be crafted by using different evocative
descriptions of life experiences and explorations like
Crafting Techniques photograph studies puppets and mask constructions and
notepad studies.

REFERENCES

Art Making (2020). Retrieve from: http://www.artbeyondsight.org/handbook/acs-

artmaking.shtml

Esaak, S. (2020). The Element of Space in Artistic Media. Retrieved from

https://www.thoughtco.com/definition-of-space-in-art-
182464#:~:text=Space%2C%20as%20one%20of%20the,%2Ddimensional%20
or%20three%2Ddimensional.

Montebon, R. (2020). Art Appreciation: The Art of Soul Making. St. Michael’s College, Iligan
City. Retrieved from: https://www.studocu.com/ph/docu

Mugadonna (2020). How to Think Like Leonardo DaVinci. Retrieved from

https://bit.ly/36fJsw7

Richmond, G. (2020). Difference Between Dream And Imagination. Retrieved from

http://www.differencebetween.net/language/words-language/difference-
between-dream-and-imagination/

Thorp, S. (2020). Making soul – a developmental path to consider. Retrieved from

https://bit.ly/385C7Si

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 MODULE 10
LOCAL, TRADIONAL AND INDIGENOUS ARTS

Introduction

“The soul should always stand ajar, ready to welcome the ecstatic experience.” – Emily
Dickinson

Have you wondered how the clothes we wear are made and how baskets, mats,
blankets, pouches, and other fabrics are produced? All these items we keep asking are
products of human hands through the art of weaving, before the industries produced these in
greater volume through the aid of machines. Why do we need to learn the art of weaving,
despite the technological gadgets that we have? Many especially the young, find this art of
weaving archaic and unnecessary. Despite this art’s unattractive notion, we need to assert its
relevance for a cultural value that our past generation held on in order to recognize our identity
as a Filipino.

Before performing the expected activities found in this learning module, we need to
have a walk through on the selected pieces of art of weaving in the Philippines, as our learning
content. Art of weaving is already part of our consciousness, as it is mentioned among the
local myths in the regions’ folklore and traditions in our literature classes. In the elementary
school, our teachers taught us to appreciate this art through the art of paper weaving, where
our fine motor coordination was developed by measuring, cutting, and weaving the different
strips of colored papers to produce beautiful artworks (Inocian, 2018).

Learning Outcomes

At the end of the module, students should be able to:

1. draw a metaphor from local myths so you will value cultural roots; and
2. deepen your understanding of imaging.

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Lesson 1. Textile Art (Barnes, 2020)

Textile Art is a creative art and craft that uses fibers taken from plant, animal or
synthetic material to create practical or decorative objects (What is Textile?, 2016 as cited by
Barnes, 2017). This is one of the oldest forms of art in human civilization to provide protection
of the body from harsh environment and bad weather conditions. In different geographical
locations, textile weavers pay a major role in providing protection of the human bodies, by
providing thick clothes in middle and high latitude countries, and thin and loose fabric in
equatorial regions. Across the deserts, savannahs and tropics, textile art is invariably inspired
by the beauty of nature, ranging from the geometric and naturalistic to foliar, floral, and animal
motifs. Hence, textiles have been a functional part of human life since the beginning of time to
serve its primary functions for clothes and blankets to keep the bodies warm during evening
time as well as in colder places and seasons. Anthropologists estimate the earliest accounts
of this art between 100,000 to 500,000 years ago during the prehistoric times, when our
ancestors used fabric from animal skins and fur.

The product creation of these fibers is called textile or a fabric. A cloth is a fabric being
produced by weaving using cotton, nylon, wool, silk, and any kind of thread. A fabric is a piece
of cloth or any material produced by weaving together cotton, nylon, wool, silk, or other
products of threads. A thread yarn is a long, thin strand of cotton, nylon or other fibers used in
the craft of sewing or weaving. Textile design is creative and technical process by which
threads or yarn fibers are woven or interlaced to form a flexible, functional and decorative
cloth, which is subsequently printed upon adorned by individuals.

As time wore on and the neolithic cultures settled, textiles become increasingly
complex. Many early pieces were made with felting, which agitates animal fibers (like wool) to
interlock them in a strong bond. Beyond that, though, humans also spun fibers to create
strands of thread. They were woven together and resemble more of what we’re used to today.

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 Figure 10.1. Textile art from the India in late 18th to early 19th century
Source From: https://mymodernmet.com/contemporary-textile-art-history/

Creating clothing and other textiles was laborious—everything had to be done by hand.
This included gathering fibers from plants or animals and then twisting them to make it into
yarn. In addition to being a tedious process, making an article of clothing was expensive;
tailors and seamstresses altered garments to ensure that they lasted a long time. Depending
on how wealthy someone was, they could get imported fabrics and colorful dyes. The Silk
Road trade routes brought Chinese silk to India, Africa, and Europe. While clothing was still
the dominant type of fiber art, the aristocracy could also afford to decorate the walls, floors,
and furniture of their palaces in lush and vibrant pieces.
The Industrial Revolution was a turning point for textiles. With the invention of the
cotton gin, spinning jenny, and power loom, creating fabric was now automated and could be
produced on a massive scale. Textiles were not just for the wealthy anymore; as prices

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dropped, they were available to more of society. It also meant that these materials were not
as precious, and creative people could experiment with them in previously unseen ways.
The rich history of textiles has laid the groundwork for contemporary creatives. In
modern times, the terms fiber art or textile art generally describe textile-based objects that
have no intended use. Although this realm has previously been seen as “women’s work,”
artists - particularly female artists in the 1960s and 70s - started to reclaim the field and elevate
it into high art.

Popular Techniques in Textile Art

Textile art is broad term that can encompass many types of approaches. Weaving is
one of the earliest techniques. Here, threads are laced together on a loom at intersecting
angles to form cloth. This is commonly seen in garments, but weavings can also be made into
display artwork. These are often displayed as wall hangings, and modern weavers like
Genevieve Griffiths are experimenting with yarn weight and stitch length to create highly
textured works.

Figure 10.2. Weaving on a loom (Photo credit: 54613 / Shutterstock)

Source: https://www.shutterstock.com/search/weaving+loom

Embroidery is another popular form, in which artists use thread to stitch decorative
designs onto fabric. Often referred to as hoop art, the images mostly stay within the confines
of the circular frame. But contemporary embroidery has no rules, so it’s not unusual to see

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fabric and thread spill from the hoop. Ana Teresa Barboza is a great example of this method
of practice. In her artwork, she creates landscapes that extend well beyond the hoop and flow
towards the floor.

Figure 10.3. Crochet needle with stitches (Photo credit: Marie C Fields / Shutterstock)
Source: https://mymodernmet.com/contemporary-textile-art-history/

Knitting and crocheting are two other techniques for working with textiles. In both, large
needles are used double and single, respectively to twist thread into different stitches, which
in turn create larger patterns. These approaches are extremely common in your favorite
sweater or blanket, but artists have co-opted as a means of expression. Joana Vasconcelos
uses crochet to cloak animal statues in colorful patterns. Likewise, the artist Olek “yarn bombs”
buildings including covering an entire home in bright pink crochet.
While many textile artists use traditional techniques as a starting point for their work,
other artists deconstruct these established practices to create minimalist art that’s nonetheless
impactful. Gabriel Dawe is a fantastic example of this. His site-specific installations use razor-
thin strands of colorful thread that stretch across rooms. The result brings shining rays of
rainbow light indoors.

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Contemporary Textile Artists
With its myriad of visual possibilities and rich history, it's no surprise that contemporary
textile artists showcase the vast differences that are possible when dealing with fabric, thread,
and yarn.
New Zealand-based artist Genevieve Griffiths uses weaving to create architecture-
inspired wall hangings.
In the world of textile art, rugs have been around a long time. The term first came into
existence back in the 13th century, and they're still as popular as ever today. Artist Faig Ahmed
puts a contemporary spin on carpets by adding computer-style glitches to the otherwise
traditional motifs.

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Lesson 2. Visual Elements in Philippine Traditional Motifs and
Crafts (Inocian, 2021)

Classification Elements in Visual Arts

1. LINE- the foundation of drawing; used to portray shape, pattern, form, structure,
growth, depth, distance, rhythm, movement, and a range of emotions.
2. SHAPE- may be natural or man-made, regular, or irregular, 2-dimensional, or 3-
dimensional, representational or abstract, geometric or organic, transparent or
opaque, positive or negative, decorative or symbolic, colored, patterned or textured.
3. PATTERN- made by repeating or echoing the elements of an artwork to show a sense
of balance, harmony, contrast, rhythm, or movement. Natural patterns are observed
from nature, while man-made patterns are planned compositional works done to
develop a more decorative design.
4. TEXTURE- an element of two-dimensional and three-dimensional designs and is
distinguished by its perceived visual and physical properties. Physical texture is the
tactile quality of a surface, such as rough, smooth, sticky, fuzzy, soft, or slick. Visual
texture is a visual quality of a surface. It is the result from painting or drawing as the
real texture. Visual texture is an illusion of texture created by an artist.
5. SPACE- 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. Positive space refers to areas where the subject is positioned.

Philippine Decorative Methods (Inocian, 2021)

Philippine decorative methods consist of the traditional and non-traditional methods.
The traditional methods of decorative art use localized or indigenous resources found in the
environment like leaves and strips for baskets, wood, bamboos, and vines for houses; shells,
stones wood and dried seeds for accessories; clay for potteries; natural dyes for tattoos and
wood for carving.

Symmetry Art of Okir/Ukill (Inocian, 2021)

Are you familiar with sarimanok? What does it remind you of? How about the colorful
vinta sailboat in Zamboanga City? These are as few of the common objects that can be

195
alluded to our Filipino symbolism. These colorful exquisite figures are greatly influenced by
the unique craft called okir. The origins of okir can be traced back before Islam flourished in
Mindanao (National Museum of Anthropology). They are believed to have originated from the
much earlier okil or okil-okil decorative carving traditions of the Sama Badjao people, which
are often highly individualistic and geometric. The Sama are master carvers and they made
lavish decorations on ritual animistic objects, grave markers (both in wood and stone) and
their houseboats. These precursor forms of the okir design can still be found in the art
traditions of the Maranao in the basak (lowland) regions of Lake Lanao, and they contrast
markedly from the later flowing okir designs.
The older Sama carving traditions (okil or okil-okil) sometimes spelled ukkil among
Malaysian Sama differ markedly from the okir of the Maranao. Although elements of the okir
were incorporated in later Sama carvings. Sama okil are not bound to rules like the okir and
thus tend to be highly variable. Maranao okie motifs are so stylized that it is often easy to tell
whether a carving in Maranao ora not. Other ethic groups usually introduce other elements or
motifs that are non-traditional to the original Maranao okir designs. In the past, okir designs,
particularly for textiles, are distinctive enough that a Maranao can usually distinguish which
region someone is from based only on the patterns of their malong and their woven decorative
strips.

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Lesson 3. Workshop on Improvisations, Installation, Trans
Creation (Inocian, 2021)

Improvisation
Have you ever tried answering a question at hand without any preparation at all? How
does it feel? How did you come up with your thoughts under pressure? Some may stumble
that their nerves wrack them off. Some also are able to orchestrate their ideas, if not coherent,
but in creative manner. On a parallel fashion, an actor/actresses who is given a script and
overview of the story is asked to act out the scene without much preparation. In most cases,
he/she can make ad-lib and free to perform it to convey the message clearly. This is what we
call improvisation. You improvise when you act creatively and perform spontaneously without
much preparation (Meriam Webster’s Dictionary). Improvisation (also known as improv, impro
or impromptu) has been a component of performance since the beginnings of Ancient Greek
theatre with the improvisations by the leaders of the dithyrambs (Brockett, 13 in Scott, 2014).
Possibly, improvisation found its way into earlier ritual dramas as in the case of Ancient Egypt,
where sacred texts “were incorporated into such performances while still relying on myths that
were quite flexible and could easily be related to many different situations”.

Improvisation Technique
Akin to those of stage play and any theatrical presentations, improvisation is
categorized into music, dance, theater, and problem solving. But this Module does not require
you to perform such categories separately. Rather you are tasked to perform all of these in
synchrony like different art forms in wrought-fusion theater.
1. Improvised Music
Music in theater can be voice, music, or sound effects. In most cases, sound in
theater operates as an auxiliary that heightens the effect or emphasizes this message
of the story as John A. Legend points out in his book Theater Sound.
Improvised Dance
It is the process of spontaneously creating a movement. Development of
movement material is facilitated through a variety of creative explorations including
body mapping through levels, shape, and dynamics schema.
2. Improvised Design
It has something to do with the visual arts used as background of the entire
milieu of the presentation: lighting, backdrop, props, and costumes. It may be mock-

197
 ups, or realias depending on how the story wants to convey its tangibility and
concreteness.
3. Improvised Theater/Drama
It involves the spot of role-playing and exchanging dialog in which most or all
of what is performed is unplanned or unscripted: created spontaneously by the
performers. In its purest form, the dialogue, action, story, and characters are created
collaboratively by the players as the improvisation unfolds in present time, without use
of an already prepared, written script.
4. Improvised Problem Solving
This challenges a performer to provide on-the-spot dialog and conversation as
the situation and interaction gap arise leaving it a silent lull. This might be the failure
of one performer to do the task on stage and you find a way to cover it up before the
audience. This provides an interactive, fun-filled environment than can spark creativity,
smoothness, and spontaneity.

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Lesson 4. Philippine Indigenous Arts (Inocian, 2021)

Look around and see some objects at home like baskets, earthen jars, pots, malong,
paintings or any decorative materials. Don’t you know some of them are crafted and made by
our fellow indigenous people? It’s worth bragging that even most of their arts-and-crafts
products are manufactured and exported across the globe. Indigenous communities can be
found in various regions in the Philippines. These communities have their own unique arts and
crafts. Whether it be visual arts, song and dance, handicrafts, tapestries and clothing or
pottery, each region boasts of exceptional talent, skills and creativity. Unfortunately, these
masterpieces have been downgraded by outsiders to merely crafts or handicrafts that are only
worthy of being sold in tourist shops. This is also known as the art vs. crafts controversy
(Racette and Robertson, 2009). It is sad to note that indigenous artists are not recognized or
appreciated. Indigenous visual arts provide a means of cultural expression and are a vehicle
for the maintenance and transmission of culture. The visual arts are used to promote health
and well-being. The improve the lives of indigenous women and provide self-esteem to young
indigenous people.

The Arts of the Aetas

A traditional form of visual art is body scarfication. The Aetas intentionally wound the
skin on their back, arms, breast, legs, hands, calves and abdomen and decorative
disfigurements include the clipping of the teeth. With the use of a file, teeth are dyed black a
few years afterwards. The Aetas generally are use ornament typical of people living in
subsistence economies. Flowers and leaves are used as earplugs for certain occasions.
Girdles, necklaces, and neckbands of braided rattan incorporated with wild pig bristles are
frequently worn.

The Arts of the Bagobo

The Bagobos wear distinct ceremonial attire made of ikat textiles, which are likely worn
as either a costume or a dress. For the Bagobo, however, which ever word is used made a
difference. For example, the tend to use kostyom (costume) when speaking to non-Bagobo;
amongst themselves, they use ompak (garment or clothing). Kostyom is not just costume
pronounced with a local accent, it refers to something more exact.

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The Arts of the Badjao
The most commonly used material is the pandanus plant which grows abundantly in
the limestone-based island of Tawi-Tawi. The pandanus grow wild and untended in the shores
and sandy beaches. The techniques for preparing the pandan and weaving the mats are
generally similar throughout Sulu.

The Arts of the Bontoc

The Bontocs have a traditional of cloth weaving. The background colors are dark, the
favorite being blue. Geometric designs are diamonds, triangles, hexagons, and zigzags.
Representational designs are the dancing man and woman, stars, leaves, and rice paddies.

The Arts of the Gaddang

The Gaddang is a tribal group to the north-east Manila, in the provinces of Isabela and
Cagayan. This is a modern reproduction of the traditional striped Gaddang textiles
embroidered with small white beads.

The Arts of the Ibanag

Textiles are embellished with knotted selvages and seams, floating warps, and
complimentary wefts.

The Arts of the Ifugaos

Traditional costumes are characterized as short, tight-fitting, hand-woven skirts with
colorful horizontal stripes, with a white-sleeve blouse and a loose striped jacket.

The Arts of the Ilongot

A headdress made of horn bill, shell, wire, rattan, and hair.

The Arts of the Ivatan

A vakul is a headgear designed to protect the wearer from sun and rain. It is made
from vuyavuy palm fiber.

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The Arts of the Mangyan
The embroidered pakudos is always of two colors.on a white blouse, it is predominantly
red and is highlighted by a fine black or dark blue outline. On a blue blouse, it is also
predominantly red, but the outline stitchery is white. The design is started from the center with
only hand measurements and the warp and weft threads as guide.

The Arts of the Manobo

Traditional fabric for clothes was made of abaca fiber or hemp, woven by the ikat
process. But now it is made of cotton cloth obtained through trade. Dyes were acquired from
plants and trees: the tagum plant and the bark of the lamud tree produced lack, the turmeric
root yellow and the keleluza plant, red. Ginuwatan are woven representational designs such
as flowers. If cotton trade cloth is bought, big floral designs are preferred. Typical colors are
red, black, yellow, green, blue, and white.

The Arts of the Maranao

We have several stylized decorative motifs in Muslim art. Sarimanok is one of these,
a stylized representation of an open-winged legendary bird whose claws clutch a fish. It is
bird-form symbol of the Maranao. A sarimanok can be seen on top of bamboo poles placed at
the center of Muslim Villages. The Maranao are also known for btheir gold and purple malong.
Malong is the traditional tube garment, which is commonly colored into combinations of green,
yellow, red, violet, and blue.

The Arts of the Subanun

The traditional costumes worn by the Subanun men and women consist of upper and
lower garments with headdress and other accessories. The tight-fitting garment that is
generally black made up the men’s upper garment called as Sub.

The Arts of the T’bolis

The T’bolis are famous for their dream-inspired and spirit-infused T’nalak weaving, but
also for their embroidery, brass casting, and other crafts. T’nalak weaving is an artform

201
perfected over decades of practice by T’boli women, and only a handful of master weavers
can be considered true ‘dream weavers’, the works of whom are highly valued.

Arts of the Tingguian

The Tingguians or Isnegs, are engaged in bamboo craftsproduction. This is the reason
why Abra is positioning itself as the “Bamboo Capital of the Philippines”.

ASSESSMENT TASK 10-1

#MyPhotosandReflectiveEssay

Directions. Choose four (4) pictures (either of the following: picture of yourself, your family,
friends, pet, or things) and describe yourself based on the four (4) pictures you chose in 150
words. Include your chosen photos on your file. (100 points)

REFLECTIVE ESSAY RUBRIC

Points
Criteria Exemplary Accomplished Developing Beginning
20 15 10 5
Good
Some
organization; Organized; points
organization; Poorly; no logical
points are are somewhat
points jump progression;
Organization logically ordered; jumpy; sense of
around; beginning and
sharp sense of beginning and
beginning and ending are vague
beginning and ending
ending are clear
end
Some detail are Details are
Quality of Supporting detail Unable to find
non-supporting to somewhat
Information specific to subject specific details
the subject sketchy, do not

202
 support the
topic
Numerous errors
Grammar, Usage, Only one or two More than two
No errors distract from
Mechanics Spelling errors errors
understanding
Vocabulary is
Vocabulary is Basic vocabulary;
Vocabulary is unimaginative;
Interest Level varied; supporting needs descriptive
varied details lack
details is useful words
“color”
Legible writing; Legible writing; Legible writing, Illegible writing;
Neatness clean; with proper well-formed some ill formed numerous typo
text formatting characters letters errors

ASSESSMENT TASK 10-2

#ComprehensionScaffolding

Directions: Search and watch from YouTube the musical play, “Ang Huling El Bimbo”,
and describe the five (5) improvisation techniques used in such presentation. (50 points)

SCORING RUBRICS PER IMPROVISATION TECHNIQUE

GOOD FAIR POOR

CATEGORY SCORE
5 points 4 points 2 points
Main Idea Student The title of the
identifies the musical play The main idea
correct main instead of the was not stated,
idea. The main main idea. The or not clear.
idea is placed title was place The main idea
correctly on the correctly on the was not in its
graphic graphic correct place.
organizer. organizer.
Organization The graphic The graphic The graphic
organizer was organizer was organizer was

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 logically adequately poorly arranged
arranged and arranged and and provided
provided provided some insufficient
sufficient detail. detail, but less detail.
There are five than five were
details given, given. The
and they all details support
support the the main idea.
main idea.
TOTAL SCORE

SUMMARY

In this Module, we have learned the different art forms like the visual arts. Have you
imagined combining these various art forms as one synchronized presentation? What other
form of art emerges? This Module focuses primarily on the various perspectives of improvised
art form. This provides interdisciplinary techniques of stage play that reflect societal issues in
the contemporary world. Its trends and thrusts move from drawing-room comedy to absurdism,
from political point of view to the theater of science and from psychological repercussions to
forms and techniques in stage play improvisation as a vehicle to arise awareness and promote
social interventions. This involves crafting improvised script and based presentation.

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 REFERENCES

Barnes, S. (2020). Art History: Ancient Practice of Textile Art and How It Continues to
Reinvent Itself. Retrieved from https://mymodernmet.com/contemporary-textile-
art-history/

Inocian, R. B., (2021). Modular Approach to Art Appreciation. Lorimar Publishing Inc: 10B
Boston Street, Brgy. Kaunlaran, Cubao, Quezon City, Metro Manila,
Philippines.

Mugadonna (2020). How to Think Like Leonardo DaVinci. Retrieved from

https://bit.ly/36fJsw7

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