MAPEH 8

MUSIC • ARTS • PHYSICAL EDUCATION • HEALTH

English – Grade 8
Quarter 3 – Module 3:
First Edition, 2020

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Published by the Department of Education - Schools Division of Pasig City

Development Team of the Self-Learning Module

Writers: Eunice Riza P. Javinal, Joyce Fe L. Mendez
Editor: Ma. Elena V. Peralta
Reviewers: Cecille J. Delos Reyes (Content)
Illustrator:
Layout Artist: Giovanni M. Fernandez
Management Team: Ma. Evalou Concepcion A. Agustin
OIC-Schools Division Superintendent
Dr. Carolina T. Rivera
OIC-Assistant Schools Division Superintendent
Victor M. Javeña EdD
Chief, School Governance and Operations Division
and OIC-Chief, Curriculum Implementation Division

Education Program Supervisors

Librada L. Agon EdD (EPP/TLE/TVL/TVE)

Liza A. Alvarez (Science/STEM/SSP)
Bernard R. Balitao (AP/HUMSS)
Joselito E. Calios (English/SPFL/GAS)
Norlyn D. Conde EdD (MAPEH/SPA/SPS/HOPE/A&D/Sports)
Wilma Q. Del Rosario (LRMS/ADM)
Ma. Teresita E. Herrera EdD (Filipino/GAS/Piling Larang)
Perlita M. Ignacio PhD (EsP)
Dulce O. Santos PhD (Kindergarten/MTB-MLE)
Teresita P. Tagulao EdD (Mathematics/ABM)

Printed in the Philippines by Department of Education – Schools Division of

Pasig City
 MAPEH 8
MUSIC • ARTS • PHYSICAL EDUCATION • HEALTH

Quarter 3
Self-Learning Module 3
Indigenous and Foreign Influences of Arts in
South Asia, West Asia, and Central Asia
(India, Saudi Arabia, Pakistan and Tibet)
Introductory Message

For the Facilitator:

Welcome to the Arts 8 Self-Learning Module 3 on Indigenous and Foreign

influences of Arts in South Asia, West Asia, and Central Asia (India, Saudi Arabia,
Pakistan and Tibet)!
This Self-Learning Module was collaboratively designed, developed and
reviewed by educators from the Schools Division Office of Pasig City headed by its
Officer-in-Charge Schools Division Superintendent, Ma. Evalou Concepcion A.
Agustin, in partnership with the City Government of Pasig through its mayor,
Honorable Victor Ma. Regis N. Sotto. The writers utilized the standards set by the K
to 12 Curriculum using the Most Essential Learning Competencies (MELC) in
developing this instructional resource.

This learning material hopes to engage the learners in guided and independent
learning activities at their own pace and time. Further, this also aims to help learners
acquire the needed 21st century skills especially the 5 Cs, namely: Communication,
Collaboration, Creativity, Critical Thinking, and Character while taking into
consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing them to
manage their own learning. Moreover, you are expected to encourage and assist the
learners as they do the tasks included in the module.
 For the Learner:

Welcome to the Arts 8 Self-Learning Module 3 on Indigenous and Foreign

influences of Arts in South Asia, West Asia, and Central Asia (India, Saudi Arabia,
Pakistan and Tibet)!

This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning material while being an active
learner.

This module has the following parts and corresponding icons:

Expectations - This points to the set of knowledge and skills

that you will learn after completing the module.

Pretest - This measures your prior knowledge about the lesson

at hand.

Recap - This part of the module provides a review of concepts

and skills that you already know about a previous lesson.

Lesson - This section discusses the topic in the module.

Activities - This is a set of activities that you need to perform.

Wrap-Up - This section summarizes the concepts and

application of the lesson.

Valuing - This part integrates a desirable moral value in the

lesson.

Posttest - This measures how much you have learned from the
entire module.
 EXPECTATIONS

In this module, you will learn the Arts and Crafts of these selected countries in South, Asia,
West Asia and Central Asia. (India, Saudi Arabia, Pakistan, and Tibet).

Most Essential Learning Competencies:

• incorporate the design, form, and spirit of South, West, and Central Asian artifacts and objects to
one’s creation; and A8PL-IIIh-3
• trace the external (foreign) and internal (indigenous) influences that are reflected in the design
of an artwork and in the making of a craft. A8PL-IIIh-4

Learning Outcomes:
At the end of the lesson, the student should be able to:
1. distinguished the arts and crafts of India, Saudi Arabia, Pakistan and Tibet;
2. recognized foreign and indigenous influences of the arts and crafts of India, Saudi Arabia,
Pakistan and Tibet; and
3. designed a truck art inspired by the importance of tracing influences.

PRETEST

DIRECTIONS: Identify which country the picture come from. Write your answer
on the blank below the number.

1.___________________ 2.__________________ 3._________________

.

4.___________________ 5.___________________

RECAP

DIRECTIONS: Read the questions carefully and decode the numbers below the line by
using the alphabet.

__ A __ __ H __ __ 1. Hindu Goddess of wealth.

12 1 11 19 8 13 9
B __ __ _T_ _E_ __ __ __ __ __ 2. Lamp used in every Tibetan temple,
2 21 20 20 5 18 12 1 13 16 household and altar.

_D_ __ __ _A_ __ __ 3. Celebrated by Hindus in India and also

4 9 23 1 12 9 known as the “Festival of Lights”.

C __ M __ __ __ A __ __ 4. Small piece of desert crafted from dried

3 1 13 5 12 12 1 13 16 camel skin.

__ N __ E __ __ __ B __ __ __ __ __ 5. Made of wood with the shallow part

9 14 3 5 14 19 5 2 21 18 14 5 18 covered in lead and decorated with brass.

LESSON
Indigenous and Foreign influences of Arts in South Asia, West Asia, and Central Asia
(India, Saudi Arabia, Pakistan and Tibet)

SOUTHEAST ASIAN INDIGENOUS INFLUENCE FOREIGN INFLUENCE

COUNTRY
• INDIA
The picture above is called Chitra Lakshana, an early Sri Lankan homes where the
Rangoli. It is one of the most treatise on Indian painting, ritual is maintained amidst
beautiful and most pleasing art attributed the idea of rangoli to challenges, the designs are
forms of India. It comes from Lord Brahma. Traditional form brought to life using coloured
the words “rang” meaning color of rangoli made use of designs rice, dry flour, flower petals,
and “aavalli” meaning colored and motifs based on nature such turmeric, vermillion and
creepers or row of colors. as flowers, swans, peacocks, etc. coloured sand which is dyed
Even the colors in the traditional and dried in advance.The
art form were extracted from patterns include the face of
natural dyes, like bark of trees, Hindu deities, peacock motifs
leaves, indigo plants. and floral designs.
• SAUDI ARABIA

The picture above is called Arabian carpets consist of a field North African Carpets refer to
Arabian rug, typically a warp is of interlocking geometric those produced in Tunisia,
tightly strung on a loom shapes. Another feature that is Morocco, and Egypt.
vertically. The individual knots often seen is Arabic calligraphy The Moroccan rugs include
are tied on the warp according to in the design. Sometimes, one the Berber carpets that are
a design on a cartoon, or pattern. will also find a medallion made from un-dyed wool with
One or more rows of plain carpet, similar to those that may only a few colors used to
weaving are used to keep the be seen frequently in Persia. produce the designs.
knots in place. Arabian rugs are Egyptian carpets can be
known for the vivid, almost divided into two categories,
eccentric colors and intricate Mamluk carpets are
designs. often large carpets that feature
geometric patterns and those
from Cairo show a heavy
influence from the Persian
rugs that were produced by the
Safavid Dynasty at the same
time. They often
featured medallions,
palmettes, and floral patterns.

SOUTHEAST ASIAN INDIGENOUS INFLUENCE FOREIGN INFLUENCE

COUNTRY
• PAKISTAN
Across Pakistan, brightly It first appeared on trucks and In Pakistan, truck art has
colored flamboyant trucks lorries driven by Sikh origins dating back to the
painted with images of transporters who would paint a 1920s, when Bedford trucks
idealized landscapes, famous portrait of their spiritual Gurus, imported from England
personalities, flowers and trees or those who helped form the invaded the country’s streets.
turned village lanes, city streets Sikh religion. The portraits were They were fitted with large
and long-distance highways painted with the loudest of wooden prows on top of the
into a gallery without walls; a colors. By 1947 — the year truck bed. Known as
free-form kaleidoscopic Pakistan emerged as an a taj, or crown, the ornate prow
exhibition in motion. independent country — truckers was also accompanied by
began to add more elements decorative bumpers and wood
around the portraits of the Sufis, paneling along the cabin. In the
such as whole landscapes, flying late 1940s, when trucks began
horses, peacocks, etc. long-haul journeys to deliver
goods, each company designed
a logo so that illiterate people
would understand who owned
the truck.
• TIBET

A mandala is a spiritual and The word mandala is Mandalas have been found
ritual symbol in Asian cultures. a Sanskrit term that means in dream catchers as a means
It can be understood in two “circle” or “discoid object”. to protect the individual
different ways: externally as a Mandalas are objects of sleeping. A popular item in
visual representation of the devotion they can be painted on Western cultures, you can
universe or internally as a guide paper, wood, stone, cloth or easily identify the shape and
for several practices that take even on a wall. The traditional patterns of a mandala within
place in many Asian traditions, Tibetan mandala, found in most dream catchers.
including meditation. Buddhism, depicts the
enlightened state of Buddha Mandala art is also used in
through sand art. Patterns are healing circles, a practice that
formed on the ground using derives from Native
metal and a small tube to create Americans. The circles are
the exact texture and often associated with the
organization of the grains. restoration of the body, mind,
and heart.
 ACTIVITY

ACTIVITY: MY OWN TRUCK ART

DIRECTIONS: Design you own Truck Art with the influence of the Arts and Crafts from India, Saudi
Arabia, Pakistan and Tibet. Use the Truck Art frame as your guide. Once done, write at the space
provided a short explanation of your design.

All About my Artwork

Name and Signature of the Student

Note: The Teacher and the Parent/Guardian should leave their score and comment for the artwork of
the student. For rating, follow the rubric below.

RUBRIC:
EXCELLENT GOOD FAIR POOR
CATEGORY
5PTS 4PTS 3PTS 2PTS
Followed the
FOLLOWING Followed most Followed some of Did not follow
direction
DIRECTIONS of the direction. the direction. the direction.
correctly.
CREATIVITY Student’s output Student’s output Student’s output Student’s output
AND is very creative is good and is fair and has few is dull with lots
WORKMANSHIP and tidy. tidy. errors. of errors.
Pattern of South, Pattern of Pattern of South, There is no
Central and West South, Central Central and West visible pattern of
Asian culture is and West Asian Asian culture is South, Central
PATTERN
well-defined and culture is visible somewhat visible and West Asian
used from but not clearly but not culture.
beginning to end. defined. continuous.
Total Score:
Comment:
Teacher

Total Score:
Comment:
Parent/Guardian

WRAP-UP

India has Rangoli, the most pleasing art in the country. Saudi has Arabian rug are known for
the vivid, almost eccentric colors and intricate designs. Pakistan has Truck art, a free-form
kaleidoscopic exhibition in motion. And Tibet has Mandala a spiritual and ritual symbol in Asian
cultures. Dream catcher is a popular item in the western culture, what do you think is the meaning of
using a dream catcher mandala? And how can you apply it in your life?
___________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

____________________________________
Signature over Parent’s Name
 VALUING

FAMILY SHARE
1. As a part of the Generation Z, what are the ways you can preserve our own Arts and Crafts
in the Philippines? Share your answer in 4 – 5 sentences.

2. How did you accomplish this module? In 2 – 3 sentences, share your journey.
Parent/s’ or Guardian’s Answer Student’s Answer

POSTTEST

IDENTIFICATION: Answer the following questions by choosing the correct term on the
box below. Write your answers on the space provided before the number.

Truck Art Circle Arabian Rug

Rangoli Mandala Dream Catcher

___________________1. A warp is tightly strung on a loom vertically, also known for the vivid almost
electric colors and intricate designs.
___________________2. Brightly colored flamboyant trucks painted with images of idealized
landscapes, famous personalities, flowers and trees turned village lanes, city
streets and long-distance highways into a gallery without walls.
___________________3. A spiritual and ritual symbol in Asian cultures.
___________________4. One of the most beautiful and most pleasing art forms of India.
___________________5. The word mandala is a Sanskrit term meaning ___________.
 KEY TO CORRECTION

References
Anido, Belinda R. et.al, 2013. Music and Arts of Asia, Teachers Guide. Book Media Press Inc.

Sakthivel, Shankar. “File:Rangoli 3.jpg”. commons.wikimedia.org, September 1, 2018.

https://commons.wikimedia.org/wiki/File:Rangoli_3.jpg
Raju, Ch Maheswara. “File:Peacock Rangoli IMG-20200101-WA0028-01.jpg”.
commons.wikimedia.org, January 1, 2020.
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Rao, V Venkata. Ahmedabad. “What is the origin of Rangoli?”. timesofindia.indiatime.com, November
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li%20to%20Lord%20Brahma.
Joseph, Dishan. “Kolam design”. sundayobservr.lk, January 13, 2019.
http://www.sundayobserver.lk/2019/01/13/youth-observer/kolam-designs

Paracha, Nadeem F. “The elusive history and politics of Pakistan’s truck art”. dawn.com, August 22,
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Stewart, Jessica. “Colorful ‘Jingle Trucks’ Rule the Road in Pakistan”. mymodernmet.com, April 10,
2018. https://mymodernmet.com/pakistan-truck-art/
Papadopoulos, Alexandros. “File:Pakistani truck.jpg”. commons.wikimedia.org, December 15, 2009.
https://commons.wikimedia.org/wiki/File:Pakistani_truck.jpg
Baharwassan. “File:Truck Art of Pakistan.jpg”. commons.wikimedia.org, August 4, 2015.
https://commons.wikimedia.org/wiki/File:Truck_Art_of_Pakistan.jpg
Taj, Amir. “Truck Art”. flickr.com, October 2008. https://www.flickr.com/photos/amertaj/2267393120
Schwartz, Omri. “Arabian Rugs and Carpets”. nazmiyalantiquerugs.com, July 31, 2019.
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Christie’s. “The Baillet-Latour Mamluk Carpet.jpg”. commons.wikimedia.org, March 27, 2014.
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